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