In fact, the 10,000 copies were already allocated (presumably on the boat) to fulfillment centers around the world, as the limited reward levels are region-specific. It’s a game for which they’ve completed production of all 10,000 copies, which they emphasized would be not be available in retail. On November 6, Monolith launched their project for Claustrophobia 1643. How’s it working out for them, and why did Kickstarter allow such a project on their platform? That’s what today’s article is about. But (a) if they haven’t started producing the game, by definition it’s not a preorder, and (b) do you actually know CMON’s current cash flow? That doesn’t even include stretch goals (a key element of the creation process) and and gauging demand for the first print run (which you can do if you haven’t already started producing the game).īut we finally have an example of a campaign that really is running a true preorder campaign: Claustrophobia 1643. I think the two definitions are so often confused because of intent and necessity. When CMON launches a new Kickstarter, some people dismiss it as a preorder campaign because of the perception that CMON intends to make the game no matter what and they don’t need the funding.
The funding is received before production begins (sometimes long before). This is distinctly different than a crowdfunding campaign where the funding contributes to the creation and production of a product. In that case, customers are simply ordering something that already exists, reserving their copy until it’s ready to ship. It’s when a creator completes the manufacturing of a product, and then they start to accept orders for it. Have you noticed that a few creators have started using Kickstarter for true preorder campaigns?īut let’s be clear about what a true preorder is (in my opinion).
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