It’s tax return season and our most popular sale EVER is back! Up your game by ordering a Carolina Game Table from March 1st through May 1st, 2021 to save potentially hundreds of dollars off your order. How? We pay your sales tax.
Already have a table but want to take it to the next level? Order Storage Benches or Chairs and we’ll pay the tax on those, too!
Did the tax man take enough that you can’t afford the whole table right now? Don’t worry – we offer payment options, up to six payments. And yes, those future payments will also be tax free.
You can also explore PayPal Pay Later. We include a one-click checkout button for it on each product page. We encourage customers to try PayPal Pay Later and see what terms are offered. Some customers receive 0% financing over 12 months!
Check out our pricing options for your budget, and don’t forget to plan for shipping after your table is complete. Our estimate for production is currently six months due to the COVID-19 crisis. Read more about that here.
If there’s one thing 2020 has taught us all, it’s the preciousness of being able to connect with others through our shared love of gaming. This year we’re offering a very special deal on our cherry-finished gaming tables. Cherry Red, after all, is very much a color of love, isn’t it?
Order a Cherry finished Banquet or Dining Table with Express Production through Valentine’s Day 2021 using code “Love21” and save $200 off.
Our friends over at Pinnacle Entertainment, the makers of Savage Worlds, are very happy to announce their new joint venture with Paizo: Pathfinder for Savage Worlds.
We’re great friends with Shane and the rest of the folks over at Pinnacle – some of us also work for them too, after all – and we’re huge fans of the Savage Worlds system. Our Streamer game table is used in several Savage Worlds streams, including The Saving Throw Show.
Everyone involved is really excited to bring the world of Golarion and the rest of Pathfinder to the Savage Worlds system. We think Savage Worlds fans will enjoy the rich world of Golarion and its Adventure Paths, while Pathfinder fans will find a lot to love in the Fast, Furious, and Fun system of Savage Worlds.
We’re very happy to announce we have four new As Is tables available for order now. These tables are very special – they haven’t been used or even displayed, so they’re in perfect condition.
We have four new tables available – three Banquets and a Dining Table. The three Banquet tables are in the Sagamore Hill finish. One is at counter height (37″ with the top) with blue fabric. The other two are both at dining height (31″) – one is in blue and the other is in purple.
Finally, we have a Dining Table in the dark Sagamore Hill finish with blue fabric at dining height.
All of the tables above have cup holders and tops included. All are available and ready to ship now.
All of the photos above are of similar tables “in the wild” – these are still in our warehouse and are not available to be photographed. The tables mentioned will look identical, except where differences are noted.
We also still have the following tables still available:
$1299 Kitchen in Cherry and Dark Blue at Coffee Height
$1199 Kitchen in French Couture and Green at Bar Height
$750 Coffee in Elm and Purple
If you’re interested, take a look over on the As Is page for more photos and detailed descriptions and to see if any of them strike your fancy. Want one or have questions? Email us at [email protected].
Thanks and happy gaming!
How to Stream Tabletop Games Like a Pro, Part 4
Welcome back to our interview series, How to Stream Tabletop Games Like a Pro, where we interview tabletop gaming streamers so we can share their experience with new and aspiring streamers, or maybe just give you a peek behind the scenes at your favorite stream. This is Part 4 of the series overall and Part 2 of our interview with Monty Martin of the Dungeons of Drakkenheim stream and the Dungeon Dudes YouTube Channel.
CGT: I want to talk a little bit about the technical aspects because I feel that, for some people, that’s the more intimidating part. What stuff do you need and what decisions do you need to make?
Monty: The first really big decision you have to make if you’re going to do an in person stream, or stream in general, is “How many players are you going to have?” I think that’s where a lot of the creative and technical bump up against each other.
In our pool of players, between Kelly and I, we have about a dozen other people that we play D&D with on a regular basis. There are three players in Drakkenheim. We had to tell a bunch of our friends that they were not going to be streaming with us. And that was a really hard conversation to have, because we had friends that were excited about it, but we had friends that we knew were not the right people to involve in a stream – we love playing D&D with them, they are a lot of fun, they are some of our best friends, but they are people who are not comfortable being on screen, or do not know how to keep their mouth shut and not say something bad on camera, so we made the choice to have just three.
That was ultimately one of the best calls that we ever made. It was something that came out of conversations about both technology and practicality. I think that, for any streamer, the number of people you involve in your stream and who they are is really significant. I think this is an utterly non-negotiable thing: you have to have a microphone for every single player. If you’re going to put a microphone in the middle of the table, it just doesn’t work. It sounds bad. The hundred dollar Yeti snowball microphone does not do the job; people bump it, people hit it. It picks up the sound in an imbalanced way. From my experience on YouTube and streaming: audio is the thing that will make people shut your stream off.
The other hard truth about it is if there are pets barking or children playing or people walking into the stream environment and interrupting it; all those distractions have to get pulled out. So that’s where it all comes back to the number of people involved. If you have a tight group of people, not only does it improve the overall flow of the stream, each person is contributing more to the overall thing.
It’s also cheaper to mic each individual person, so you can go and get a decent mixer and a microphone for each individual person and be good to go. You can have an SM 58 microphone, which is what we use now and will do the job. I wish I knew a lot more about audio engineering. We had to remaster things from our first couple episodes for the podcast version, but I’m glad that we mic’d everyone individually from the get go. It’s one of the most important things we could do. We also got mic stands that we could put in unobtrusively. It’s expensive to do, but I’ve always wanted to get wireless mics for everyone to wear or get some sort of rig, people talk about getting shotgun mics, boom mics, stuff like that. Unfortunately, that wouldn’t work for us because of the height of my ceilings.
Three or four players plus a DM is the sweet spot for streaming, because again, the issue that you run into when you have six, seven, eight people involved in the stream, you just get this cavalcade of people talking over each other. As a group of performers, streamers have to learn to take turns with each other in person. And that’s something that D&D players have a really hard time with – not talking over each other. Fortunately, Jill, Kelly, Joe, and myself all worked together at the same computer shop for many years, so we already had worked together professionally in a different context. We knew how to take turns and “pass that conch” along subconsciously.
CGT: I know you and Kelly are theater people – are your cast members, your players also in theater?
Monty: Joe does stand up comedy and Jill is a trainer and a teacher, so all of us come from social group interaction sort of backgrounds, so it does help. I wouldn’t consider us actors – Joe has the most experience with improv professionally. Me, I’m a designer and a technician, but certainly now all of us have reconnected with with that side of ourselves.
When you get cross talk at the table during a stream, it’s just the worst technical problem that you will run into. And being able to get a good dynamic microphone on every single person will help that, but you can fix a lot of your audio problems – and your expense problems – by not having all six of your friends in the stream.
Having watched some first time streamers, I have given feedback where my first part of the feedback was “these three players are awesome and focusing on the stronger performers can help.” It’s not a fun conversation to have, especially if you have a bunch of friends, but it’s something to consider.
Beyond that, we still use Logitech C920 Webcams – we’re so scraping the bottom of the barrel when it comes to cameras. Just before COVID happened, we were planning on upgrading more of our equipment. I would not recommend these upgrades if you don’t yet have an audience. Be really conservative with your budget. I’ve watched people streaming using thousands of dollars of equipment. People aren’t too worried about your camera quality – a Logitech C920 is just fine, but now even those are super expensive because of COVID. A couple of those and maybe a stream deck, is really all you need. We did invest in LED light panels as well.
The most important thing, though, is audio, audio, audio. One of the best investments we made was in a Zoom Livetrak L-12 Mixer – a $800 or $900 mixer – but it has its own onboard SD card slot, so we’re able to record the audio mix directly to an SD card as we’re streaming and then we have that plus what goes to Twitch. That and buy some hard drives. Back everything up. Those are the sorts of things that people don’t think about, but we have filled up several multi-Terabyte drives and those things are more important than a nice camera. I think the camera is the least important part of the streaming setup.
I think unless your stream is getting thousands of viewers, you don’t need to go beyond the Logitech C920 for cameras, but microphones would be the first thing. The SM 58 is $100 bucks, so that’s a really good starting point. The SM 58 is the standard of live performance microphones, it’s a fantastic microphone.
Test, test, test – do practice streams. We did several private test streams where we were just hanging out. Give yourself time – I would say it took us 30 game sessions easily before I was happy with our technical setup and production experience. The video quality on our first episode is super bad, but I’ll say – episode one and episode fifty two are using the same microphones, the same cameras, and the exact same lights, but if you watch episode one and episode fifty two, that’s the difference that knowledge brings.
CGT: What was it that changed? Was it just little tweaks in the lighting setup or how you were editing things or what?
Monty: We learned a lot more about how to make the most of the equipment we had. We learned the Logitech C920s had this software that you could use to alter the exposure and brightness and other things in the camera and it took us a while to dial in the ideal settings, plus the lighting setup. With the audio, setting the audio filters in OBS – knowing how to better use those was something that we just learned over time.
Overall, we spent about $1000 on lighting and about $1000 on cameras, microphones, and mixers, so our whole setup was about $2000 Canadian, not including the computer. I think the only thing you could save money on in the setup is you could probably find cheaper lights. Maybe you could do it all for about $1500.
Because we have the benefit of sponsorships, we have things that allow us to invest in the channel a bit more. But I think geeks like us have no problem investing in our hobbies – people spend thousands of dollars on the D&D books and their gaming tables and all those things. And I’ll say, streaming is the most fun that I have had playing D&D.
If you go spending $1,000 on equipment, expecting that you’re going to be making tons of money on Twitch right away, maybe not, but if you keep at it and are consistent . . . That’s the other thing, scheduling with your people. We stream every week. We announce when we’re taking breaks. If you want to grow, if you want to build an audience, put out content every week on a consistent basis. Put out content every week, same time, consistently, and it will build over time.
CGT: How are things different during COVID-19? Both in terms of your viewership and how you guys are actually running things right now.
Monty: Obviously, we can’t get together. So now we’re using Zoom. It’s very simple. I have three monitors in front of me right now and my dm notes on one, I have my virtual tabletop on another, and then one monitor full screen with cameras. We were able to do is get the players each their own microphone and their own Logitech C920 camera. We all have at our homes a second dedicated monitor that just has everyone’s video feeds full screen so we can see each other face to face, because body language is so important in D&D. That’s lets us continue to play D&D at a really nice level.
Right now we’ve been doing the Untold Tales of Drakkenheim to get used to playing virtually. We’ve put a hiatus on our main content until we can get together. But meanwhile we have all the infrastructure so that if we wanted to have guests from elsewhere in the world come in and play with us, we could do that. We’re thinking about “Could we do a second stream that was set up like this?” And it’s been working well so far.
We never let the streaming get in the way of us playing an awesome game of D&D. If streaming your game is getting in the way of you enjoying the game, that’s the biggest challenge. Streaming should be adding something to your game, to your enjoyment of the hobby. As long as it’s doing that, do anything you want. As soon as it feels like it is taking something and not giving back, that’s when it’s time to rethink things.
Beyond that, show appreciation for everyone involved. One of the first things that we did was make sure that Jill and Joe get a portion of the money we make from Twitch. If you are going into it with other people, you need to have a conversation – if you are generating money, you should have a very serious conversation about what that means and get it in writing. I never expected I would be having a conversation with my friends about who owns the copyright to our setting. Our short answer to it was that the players own the copyright to their characters and I own the copyright to the setting. Now we have viewers asking if we’re going to make a book. I never anticipated those sort of conversations. We try to take really good care of our cast and we’re able to compensate them like creative talent, because we have a Patreon and an amazing audience that loves our work.
It’s really not easy to build an audience on Twitch right now. So it can be beneficial to think about ways that you can bring in audiences from other platforms. It’s really important that you have a YouTube channel to upload your streams to, like we do. I wish that we had done the podcast of Dungeons of Drakkenheim [sooner], because it brings in more people, as well as different ways to enjoy it.
CGT: What’s going to be next for the Dungeon Dudes and Dungeons of Drakkenheim?
Monty: We want to keep making great stuff on YouTube and we’re interested in doing books or contributing to RPG content in actual print material. [Editor’s Note: Monty and Kelly did contribute the Madness Domain Cleric subclass stretch goal to the Grim Hollow Kickstarter].
Now that we have our audience and our community, we’ve thought about ways that we can give back to other creators and audiences and just build those connections.
CGT: You can consider this part of giving back, because you’re giving very helpful advice for new streamers and YouTubers.
Monty: I think the coolest thing for me has been the fan art the people have sent us. I’ve had fans who are running their own Drakkenheim campaigns. Some of the people on our Patreon are like “I need to know answers to all these things.” The bad news is, I don’t know the answer to all those questions or I haven’t decided that yet. We have one person on Discord who is trying to make a 3D model of the entire city of Drakkenheim and has been asking me “What are the exact dimensions of the walls and the distances?” And I’m like “I don’t know.”
CGT: J Michael Straczynski, the creator of Babylon 5, once had a fan ask him what the maximum speed of the starfighters was. His response was “The speed of plot.”
Monty: It’s a superb answer and an accurate one. So many people have asked me “What are all the monsters that are in Drakkenheim?” I’m like “All the monsters I need.” It’s literally meant to be magic space rocks guys.
The effect of playing on a stream is, once we’re streaming, we’re focused on the game. One of the cool things that does happen with streaming is that the role playing itself gets to be really focused for a couple hours. It’s like there’s gold going through the water, but when you sift it out and you just have the pure gold there on its own, there’s something really special about it. It distills the game down.
We have two episodes in the series where not a single die was rolled, because the role playing was so intense and it was cool to do that. I think anybody who streams could possibly touch that nugget of amazingness, because that’s what’s happening at the table between you and your friends.
CGT: Thank you, Monty, I think we’ve covered everything in real depth. You gave a lot of great answers for the people who are interested in streaming – the creative and technical aspects and how they intersect.
Monty: One last tip – turn off your phones during recording!
And don’t forget, we have the perfect table for aspiring streamers – our Streamer Game Table is shaped and set up for ideal camera angles while hiding wires and providing ample space for four players and a DM to all be in the same shot. If you’d like to learn more, email [email protected] to schedule a consultation.
The Express Program is a new offering we started this year, available for our two most popular tables – Dining and Banquet. We keep a limited stock of these tables on hand, ready for us to just apply the fabric of your choice and get it shipped out. All of these tables include the Sagamore Hill or Cherry finish and cupholders. Production time for Express tables is as little as two weeks, but shipping is a bottleneck this time of year, so you need to get your order in ASAP.
Thank you and an early Happy Holidays, from our family to yours!
*Exact shipping times may vary for different parts of the country.
How to Stream Tabletop Games Like a Pro, Part 3
Streaming tabletop games has been popular for years, but has undergone a surge of popularity during the COVID-19 quarantine. We’re not able to get our normal gaming groups together in person, many members of the community are out of work, and we’re all looking for a way to connect. Some of us are spending more time watching streams, others are using virtual tabletops to keep our groups together, and still others are taking the bold step of starting their own stream. So we went to many of the leading tabletop streamers out there and asked them for advice for aspiring streamers.
Today is part one of our interview with one of the minds behind the Dungeons of Drakkenheim stream and the D&D YouTube channel Dungeon Dudes – Monty Martin. This interview was recorded live via Zoom, so it’s been edited down for clarity and space. This is part one – part two will focus more on technical aspects.
CGT: How long have you been streaming?
Monty Martin: We had done a few smaller one off things, but we really got started with Dungeons of Drakkenheim back in October of 2018. We had already been producing content on YouTube for over a year. Drakkenheim was something we started in response to people asking to watch our games. So we had no intention of doing a streamed game until the voice from our audience on YouTube was really loud asking for it.
We were starting to see these comments on a daily basis and prior to that, we had not considered streaming. We really didn’t think there was going to be an audience to watch, we’re like “Who cares?” But then it became a viable thing and, by that time, one of the critical things that linked up with it is we became a YouTube Partner and our Patreon picked up steam and so we had the capital to invest in the equipment to stream properly.
CGT: What is the appeal, in your mind, of streaming? Why do you think your fans so wanted to see your games?
Monty: First of all, I think that people are just ravenous for stories. And I think that for Dungeons and Dragons in particular, one of the things people love about watching D&D streams is that it combines three genres in a really, really interesting way. It’s part radio drama, it’s part improvised comedy, and it’s part sporting event. Rather than it just being us, you know, having fun rolling dice playing D&D, we knew we wanted to do something that was special.
Kelly [McLaughlin, the other “Dungeon Dude” – ed.] has a background in film production and I have a background in theatre production and I’m a PhD in Drama, Theatre, and Performance studies.
The thing that we know from listening to our audience that they love about our show is that we’re not professional voice actors; we’re not celebrities; we’re just regular people that happen to have a YouTube channel that some people started watching. And so our game feels very homespun. Our game is kind of like coming home for grandma’s cooking style D&D, whereas other streams have some big names involved and are very aspirational. A lot of our audience tells us watching our game is like a game you can actually imagine – it’s like my D&D game could be like this. People like that authenticity.
We were very deliberate in the way we set up our cameras as well. We want it to feel like, come over to my place and play some D&D with us.
CGT: What are some of your favorite streams by other people that you enjoy?
Monty: I have to confess I do not watch a lot of other streams; it’s by and large a lot of other D&D streams specifically. I actually find more inspiration from watching other content creators who are not doing D&D content, seeing what they’re doing, and applying that to our fields. So, as an example of that, I’ve spent a bunch of time watching Civ VI streamers, like PotatoMcWhiskey, trying to understand more broadly what is compelling and interesting about these things. I also watch a lot of games of Warhammer. It’s really quite interesting to see what the non D&D streams are doing. There are some ideas in the non D&D world that are really applicable, like how some of the Warhammer streamers do battle cams and dice cams.
CGT: Where did the idea for Dungeons of Drakkenheim come from? Was that something you came up with specifically in order to stream it or was that something that you had percolating already?
Monty: I had a bunch of ideas in my notebooks, and as I was looking through different ideas and discussing things with Kelly. I came forward with a couple ideas like, I think these will work well in a streaming context. And then it was really speaking with the other players about what they were most excited about. In Drakkenheim, even though the setting is so important, the characters are so much more important. So it was critical that the overall themes of the campaign that Jill and Joe and Kelly [the players – ed.] could all get behind and be really invested in.
It never really occurred to me at the time what the other potential for the setting was going to be. Part of the reason why I chose it, actually, was that I had other worlds and ideas I had been thinking of that I was a little more precious about. I chose Drakkenheim because it was one that I was like “If people hate this, I’m not going to be heartbroken.” (laughs) It was also one where I could very unabashedly say “These were my influences,” like Drakkenheim, the name, is an homage to Mordheim from Games Workshop.
We thought at the beginning we were only going to do like six episodes, maybe twelve. Then by Episode Five, I was like “No, we love this. We’re going to keep doing this and it’s not going to stop.”
CGT: Were there any choices you made or changes you made to the setting specifically with an eye to it being streamed? Were there any creative choices you had to make so it would be appealing to, not just your circle of friends, but a broader audience?
Monty: The biggest thing was that we avoided homebrew player options and stuff like that. We wanted things to be very by the book, D&D 5E rules wise. One of the other things conceptually that I did on purpose was that Drakkenheim is an urban setting; the whole adventure happens in one city. It meant I didn’t have to go ahead and design an entire world; I could be really vague about the entire world because everything was just focused on what was happening in this one location. So as a dungeon master, it kind of put a container on how expansive the whole thing could become, which I find is a generally great conceit. I really like that focus and the campaign really benefited from having a really, really focused metaplot to it, but that’s a principle I don’t think is unique.
CGT: I feel like, as a viewer, you really get to know the city in a sense and get invested in these factions. You can follow what’s going on, even when the map isn’t on screen. I’ve gotten to the point where I’ve started learning, okay, I know roughly where the clock tower is, I know roughly where the gardens are.
Monty: It just works so well. I think containing the world in this way prevents the pacing problems that other streams can run into, especially around things like downtime and travel time. In Drakkenheim, I really like to minimize the amount of time it takes for players to get control of the game’s flow and get control of the action. My style as a Dungeon Master and, I think, a style that works well for streamed games is that, the more control the players have over the flow of the narrative and the course of the action, and the more awareness everybody has of the pacing of the action, it really is to the benefit of the stream as a whole. I think one of the biggest lessons I’ve learned from streaming D&D is just how important pacing is in the end.
We have this framework in our streams of, like, we have a fifteen minute break halfway through the stream, and the stream is three hours long. So in my mind, I have to have something exciting in the first half. In the second half, we need to get through that exciting thing. Streaming has really taught me a lot about how to keep the pacing of the game session interesting. Within twenty to thirty minutes, we want something interesting happening in the stream to get the audience excited, but that actually translates to excitement at the table, because nobody’s waiting around for a bunch of things to happen. We get right into it.
CGT: So, you’re pacing it almost like a TV show where you’re trying to have your cliffhanger or something right before the commercial break, and kind of pacing around that.
Monty: Every episode, every session has to move this plot forward in a meaningful way. I have the benefit of a group of players who are really aware of that too. And so they’re co-conspirators in that regard. We don’t cheat by talking about what’s going on. We don’t do anything like scripting, but everyone knows we have to get the gas burning, you know.
CGT: Do you tell your players in advance some of what’s going to happen this session or are they going into it as blind as a player in a normal game?
Monty: After the camera stops, at the end of the game, we usually chat for about half an hour about what will happen the next week, just so we have a rough idea and orientation – let’s get oriented with what’s going on, let’s look up any rules we might be worried about. It’s not like “I need you guys to decide to do X, Y, and Z” – never. But we usually will leave the recaps and that kind of social stuff for when the camera is not rolling, to help focus what is happening in front of the camera.
It’s especially relevant at some moments in the campaign where the episode ended with a very clear plot resolution, so that’s where we would have a more intense discussion afterwards or on Discord throughout the week where I’ll ask “So what do you guys want to do next time?” It helps us avoid a lot of the situations that I think are very common at a lot of game tables, where people spend an hour deciding what their character wants to do tonight, we would kind of let that decision making happen off screen.
We always play on a case by case basis, but because we use maps, miniatures, and terrain, I always need to have some knowledge of what’s going to happen that night so that I can prepare a few things. And I think all the players are used to a little bit of railroading in the sense of “OK, we can’t go totally off the map because he’s going to have something in mind.”
CGT: I did notice that a lot of the bookkeeping stuff is very much off screen on your stream. It’s like “OK, we’re not going to spend half an hour bickering about ‘Do we buy half plate or full plate armor.’” You seem to be handling it off screen and when they come in, OK, we know what we bought. We know what we leveled up this time. In listening to other streams, sometimes it gets bogged down in the way it would with a normal game and normal players.
Monty: In the Drakkenheim setting, the merchant type NPCs were major NPCs. The meant that whenever the party members were buying a major magic item, it was a significant role playing event and part of the story as well. I did make some handouts to give to the players so they could just read them and think about their decisions a little more in advance, but we did that so rarely that when it did happen on the stream and because it was roleplayed out, people enjoyed it. Viewers are like “Oh, this is how Monty does this. This is how the group does this.” I think that’s a big part of why people watch our stream, too. It’s like “How do the Dungeon Dudes actually walk the walk?”
CGT: Is there anything else you want to talk about as far as story content, creative decisions, or anything else you’re doing differently on the creative side of it to make this work as a stream as opposed to just gaming with your buds?
Monty: Thinking about the campaign as narrative arcs and thinking about the campaign structurally, in the way that television shows and films are structured, is really valuable for a streaming show. One of the big decisions that we made was that Dungeons of Drakkenheim ended after 52 episodes. We had a very clear narrative stopping point and that model of keeping our seasons to about 40-50 episodes is something that we want to continue going forward. I do think about the game in terms of arcs and storylines and plots, because I think that one of the things D&D games suffer from in general is stories that drag out way too long, where the players don’t get any victories or hit any real milestones. Streaming has really made me think a lot about how to structure a campaign in a way that meaningfully progresses a story in nice chunks. And that’s actually a really rewarding gameplay experience for the players.
And don’t forget, we have the perfect table for aspiring streamers – our Streamer Game Table is shaped and set up for ideal camera angles while hiding wires and providing ample space for four players and a DM to all be in the same shot. If you’d like to learn more, email [email protected] to schedule a consultation.
#ManyMiniMadness Contest Winner and #TrickOrTable Photo Contest
We’re excited to announce the winner of our September customer photo contest, #ManyMiniMadness: John!
John certainly brought all the minis we could ask for and more in his WW2 collection – even an entire U-Boat! Bravo, John, and enjoy the Visa gift card that will be winging its way to you soon.
We’re also all hyped up for gamers’ favorite holiday – Halloween. This year’s Halloween may be a little different, but we can still get in the spooky spirit. Our October contest is #TrickOrTable – use minis, scenery, spider webs, or whatever spooky stuff you have to set up a horror game or RPG scenario on your Carolina Game Table. Just email your entry to [email protected] with the subject #TrickOrTable or tweet it with the hashtag #TrickOrTable by November 7th.
This month’s prize is something new – winners will get $50 gift cards to Norse Foundry Dice – enough to buy you a set or two of their lovely premium dice. We have sets of custom CGT dice and we love them.
Thanks and we look forward to seeing all your spook-tacular entries!
EDIT: The deadline for #TrickOrTable entries is November 7th.
#IndulgeYourSelf Contest Winner and #ManyMiniMadness
First, congratulations to Michele, who won our #IndulgeYourself photo contest with this photo of her husband and boys having a grand time playing Gloomhaven around her Banquet table. Congrats, Michele, and enjoy the $100 Visa gift card!
Second, we’re excited to announce our next photo contest: #ManyMiniMadness!
Is your table getting lonely in quarantine? Are your minis collecting dust on the shelf? Get them together! Load that sucker up with your mini collection or set up a gameplay scenario or scenery tableau and snap a picture. Just tag it with #ManyMiniMadness on Twitter or email us at [email protected] for a chance to win your own $100 Visa gift card.
Thanks and we look forward to your entries; we’ll announce the winner in early October. Terms and restrictions apply, please email [email protected] for details.
Gold Cup Holder Giveaway!
To celebrate Gen Con 2020, we’re giving away free gold cup holders with every table* ordered in August. You’ll still get the normal aluminum black cup holders, too, and can swap them out anytime, but sometimes you just have to feel fancy. Check out the gallery below to see how these receptacles are fit for the hoity-toityest of beverages.