Producing Fun #7: David Weiss – Boardgame Website Editor and Podcaster

Producing Fun is a podcast about making tabletop games from a product perspective.

David Weiss is the managing editor of Canadian boardgame review site the Daily Worker Placement as well as the creator of scripted tabletop game podcast the Game Changers; a 26 part history of tabletop games. In this episode we get under the skin of key issues in games and how they’re marketed: the evolution of game genres, why people use certain language to describe games, the emergence of “AAA” boardgame titles and tips for getting media coverage for your game. 

Listen on podcasting platforms: https://anchor.fm/naylorgames

Listen on Youtube:

The Daily Worker Placement: www.dailyworkerplacement.com

The Game Changers: https://dwp.buzzsprout.com

Producing Fun #6: Nick Smith – Boardgame Cafe Co-owner

Producing Fun is a podcast about making tabletop games from a product perspective.

Nick Smith and his wife Carrie are the co-owners of the Ludoquist boardgame cafe in Croydon, London: a hugely successful venue which won the global award for best retail store at GAMA in 2020 and has been featured multiple times on UK television. In this episode we get stuck into the economics of game cafes, his ambitious and inclusive vision for a café where everyone is a gamer and managing a hospitality business in the age of Covid. 

Listen on podcasting platforms: https://anchor.fm/naylorgames

Listen on Youtube:

Ludoquist’s website: https://www.theludoquist.com/

Twitter: https://twitter.com/TheLudoquist

Facebook: https://www.facebook.com/theludoquist

Producing Fun #5: Annie Norman – Miniatures Producer

Producing Fun is a podcast about making tabletop games from a product perspective.

Annie Norman is the founder and owner of Badsquiddo Games – a company specialising in making believable female miniatures.

In this episode we discuss how she built the business from absolutely nothing, bringing women in history to life, key practical questions about pricing, product quality, when and when not to outsource and how selfies play a surprisingly critical role in the miniature design process. 

Listen on podcasting platforms: https://anchor.fm/naylorgames

Listen on Youtube:

Annie’s link tree: https://linktr.ee/badsquiddogames

Producing Fun #4: Paul Grogan – Rulebook editor & Content creator

Producing Fun is a podcast about making tabletop games from a product perspective.

Paul Grogan runs “Gaming Rules!”, a rulebook editing business and YouTube channel focused on videos that teach people how to play games. As one of the industry’s top editors, Paul has worked on around 100 different rulebooks; closely collaborating with several of world’s most famous game designers in the process: including Vlaada Chvatil (Codenames, Mage Knight) and Vital Lacerda (Lisboa, On Mars).

In this episode we discuss the biggest mistakes to avoid when writing a rulebook, the future of in-game tutorials and the role of a rulebook in a game’s commercial success.

Listen on podcasting platforms: https://anchor.fm/naylorgames

Listen on Youtube:

Paul’s YouTube channel: www.youtube.com/gamingrulesvideos

Producing Fun #3: Paul Brook and Liam Kirkman – Startup Publishers

Producing Fun is a podcast about making tabletop games from a product perspective.

Paul and Liam run East Street Games –  A UK tabletop game publishing startup. In this episode we discuss the financial costs of game complexity, the personal costs of game development, developing and marketing games under pandemic restrictions and accidentally offending eurogamers. Lastly, they reveal their three most important pieces of advice for anyone looking to publish games. 

Listen on podcasting platforms: https://anchor.fm/naylorgames

Listen on Youtube:

Their links:

Website/Store: https://www.eaststreetgames.com/

Facebook: https://www.facebook.com/EastStreetGames

Twitter: https://twitter.com/GamesEastStreet

Instagram: https://www.instagram.com/eaststreetgames/

Producing Fun #2: Chris Eggett – Magazine Editor

Producing Fun is a podcast about making tabletop games from a product perspective.

Chris is the editor of Tabletop Gaming Magazine, the UK’s largest board game, RPG and miniatures game magazine. In this episode we discuss what good tabletop game writing looks like, the ethics and effectiveness of Kickstarter previews and what ‘product’ really means.

Listen on podcasting platforms: https://anchor.fm/naylorgames

Listen on Youtube:

Producing Fun: The new podcast from Naylor Games

I just launched a new podcast about games. Here I explore the thinking behind it and introduce the first episode.

Time for something new?

For a while now, I’ve been finding myself less and less inclined to spend time writing a blog. This has probably been very clear from how sporadic, in general, my posts have become. My original plan – back at the end of 2019 – was to get back to blogging once the New Year started. I’d really enjoyed writing the pieces that explored the behind-the-scenes story of the Magnate Kickstarter. With a well-earned Christmas break behind me, I was fully planning to get back to proper blogging again shortly after. Of course, there were some un-forseen ups and downs and a few delays happened, unrelated to Naylor Games. But – I said to myself – before March 2020 was out, I’d be back in the swing of it: Not doing it with any fixed schedule, but just pushing out the odd thing every few weeks. Delightful!

Well…we all know what happened next. And because we all know (and I suspect as uninterested in talking about it as I am) I won’t address it directly. Instead I’ll leave this sentence as an odd and foreboding lacuna to future generations (should I be lucky enough that anyone is reading this in the dim distant future). After all, if a future reader has done their research they’ll work it out: even once it is – for them – just a fascinating curio about a time that a thing happened.

Given that so much of my life over the last year was already being spent sat at a computer on my own (as I suspect it was for many), the prospect of spending countless more hours writing at it grew less appealing by the day. And since I was only really interested in writing mostly detailed analysis pieces, I didn’t bother at all; save for one practical post on Mental Health I did because I think its really, really important and a highly visual one about our logo that was most relevant at the time it was posted.

What that left me without though was something of a creative outlet. With Magnate production much slower than I hoped, and playtesting greatly curtailed, I realise only now that I was feeling the lack of something important: making a creative thing that other people can actually enjoy, right now. It’s not that it’s been a total creative desert. Far from it: I have completed a considerable amount of valuable preparatory and behind-the-scenes work on future projects. Rather, it’s that precious little of this work comes with the buzz of human connection: of seeing the fruits of your labour in the faces of the people enjoying it. That payoff of seeing people enjoy something you’ve made is endlessly deferred. It’s all happening in here, not out there and it sucks.

But this locked-down time hadn’t been all negative. In happier developments, others reached out to me. I had recently been invited on several podcasts, streams and digital panels, some of which as projects had themselves been inspired by reduced human contact. They had all been successful and I found that I really enjoyed being a guest every time. It is never a substitute for physical presence, but they were hugely therapeutic and lots of fun in themselves.

Then I did an (as yet unreleased) interview with Mike of the Who?What?Why? podcast and got a bolt of very obvious inspiration – penetrating its way through a thick wall of my own obliviousness: “maybe I should do something like this?” Mike’s impressive ability to put me at total conversational ease while stealthily improvising key details of the conversation, made me suddenly see how good the experience of interviewing real people over video could be. I had already had so much fun with other skillful and charming hosts and I am already a podcast person; I listen to them, on average, for two hours or more of everyday. Clearly creating a show would be time consuming. But that time would be spent, at least partly, with people; not WordPress.

But what exactly?

I don’t know why I didn’t see the possibility earlier. It is, I suspect, partly because I never had an obvious topic for a show. Being someone who always wants to be making things that are useful to people other than me and – often dangerously valuing myself only as far as I do that – I didn’t give it a second thought. Perhaps there was also a degree of long-held prejudice in my assumptions about the medium. Years back, it seemed like everyone was starting a podcast, and many of these had a reputation for being the same: just two or three guys (always guys) joshing around in a makeshift studio about nothing in particular. No one needs more of that I thought, better I don’t add it unless I have something really, really specific in mind. It obviously never crossed my mind that current podcast world is far more diverse than that. And that most of my own favourite shows do not match that description at all. And that the ones I listen to that are a bit little like that are still good fun. And that even those that absolutely started that way have nearly all evolved into something much better, while their boring contemporaries have faded away.

Still, I was left with a problem: I needed to do a podcast, but about what? It was much easier to start the blog: There were a ton of very specific things I wanted to write about from the off and I’ve never found brainstorming ideas for it too challenging. It helped that I’d already run a newspaper for 6 years so the whole process was incredibly familiar; no new technology or kit and no shortage of a sense of what interesting content reads like and what edits well. But the podcast would be more uncharted. I knew the podcast needed to be guest orientated – that’s what I’d enjoyed – and I didn’t remotely have the time to create a scripted, documentary show. But what to make it about?

A podcast about what we do at Naylor Games: producing fun

At least half the answer came from research.

There’s plenty of board game shows out there – some of them excellent – but the more I looked at it, it seemed to me like there were relatively few truly industry focused pods. The well-known shows tend to, quite naturally, look at things more from a game design perspective (such as Boardgame Design Lab or Ludology) and while they are great at what they do, I don’t find they’re as interested in the product and market perspective: how games are positioned, how they’re made, how they’re marketed, how they come together as a whole to create fun (an experience that goes way beyond what you could usefully call game design alone) and especially how whole companies sit within an ecosystem; or the larger industry pressures and physical limitations that shape the titles we ultimately see on the shelves. As someone whose day job was running the product function of a multinational technology company, all of this happens to be my wheelhouse. And if you are a long-time reader, it’s also something you will know is a significant part of how I think about games. So it won’t surprise you at all, that such topics are an equally significant part of our internal conversations at Naylor Games either: for us it’s always about the whole product.

Those are topics then which I should – in theory – be able to do justice too. And given they probably haven’t been given the attention they could have in the podcast world, there looks to be some solid opportunity for product differentiation in the podcast itself. Hence, Producing Fun: a podcast about making games from a product perspective.

The other half of the answer is that I don’t think I can actually know yet. It seems all podcasts are experiments. Whatever shape episode one could have taken, I can be almost entirely sure that future episodes will be different; in improved quality, format, tone and – hopefully – my competence as a host (which will likely start low). I have been hugely cheered by listening to the early episodes of the some of the world’s biggest and best known podcasts. At their best these initial forays tend to be clanky, uneven and rather inelegant. At their worst, they are, to my modern ears, unlistenable, self-indulgent garbage. Today some of these command millions of listeners weekly. Times may have changed somewhat, but if they could do it then, then I, as someone with the opportunity to learn from their mistakes, can definitely do it now.

1st Episode: Louis Downs – Manufacturer

The first episode (already available across multiple podcasting platforms) is an interview with my good friend Louis, Managing Director of CMA Creative Solutions Ltd.

Louis is a skilled manufacturer – his company made the beautiful resin buildings in the Magnate prototype and produces minatures for the world’s top game companies. But he’s also a lot more: before he took over at CMA he was a publisher; first in books and then in games with Dropzone and Dropfleet commander (which raised around million dollars on Kickstarter). His advice to me, based on deep understanding of production processes and the convention circuit, has been absolutely invaluable to the success of Magnate so far. His expertise comes from a very different place that an experienced game designer would so he’s a perfect guest as far as setting out the show’s stall. Because we know each other so well, he’s also someone I can afford to make some mistakes with.

Louis is easily one of the most knowledgeable people that I have ever met in the games world. I hope you find what he has to say as interesting as I do.

What’s next for the podcast? What’s next for the blog?

I feel very honoured that several experienced industry figures, from a wide variety of professional backgrounds, have already agreed to be guests on the show. This gives me high hopes that I should be able to make some really interesting episodes. More details will follow on twitter ahead of show recordings.

I am not giving-up on the blog. I’ll be posting each episode here and, whenever I am inspired to do so, will post other content that suits a written format. It maybe there are pieces that actively build on what’s come-up in the podcast. But the blog is not likely to come roaring back, festooned with many ‘000s of words-long essays, just yet. I am enjoying this new medium and its creative possibilities. I want to spend as much time with other human beings in creative endeavours that I can. So for now, the podcast will be my main focus outside the business of actually producing games. I hope you will join me on this journey – I think it could be a lot of fun.

How we made the Naylor Games logo

The site’s name is officially changing and we’ve got a brand spanking new logo! Here’s why and – just because I thought it might be interesting – what the thinking behind the design is.

With Magnate now going into mass production, I realised it was time that Naylor Games had a proper logo and for the site’s name to change. After all, once Magnate is out there, Naylor Games can truly call itself a publisher and this site won’t just be a blog anymore. And what better time to start building some level of recognition than having the logo you really want on your first game?

Like any good logo, I wanted something to communicate what Naylor Games is trying to be that would be both memorable and visually distinct. Of course, that’s much easier said than done and I thought this post might be an opportunity to explore the thinking and process behind how we came up with this design.

Why now?

I deliberately didn’t spend much time on it in early stages for a couple of reasons.

First of all, I wasn’t sure if there was going to be a game beyond Magnate. Getting this to market was my dream and although I committed to the self publish route back in early 2018, I wasn’t initially sure I wanted to publish beyond that. The whole game development process turned out – for the most part – to be even more fun and fulfilling than I expected. And even if I don’t do this for the rest of my life, I now know I want to take a shot at building a successful publishing house.

The second reason is that at the beginning, a logo wasn’t all that important. A classic thing I see quite a lot in new businesses is the rush to focus on the trappings of business; rather than what it is actually about: creating an organisation that generates value for its customers at a profit. I understand why. When you don’t yet have customers or sales, making a logo, a website or even getting office space (really not a great idea unless the rent is *very* cheap) makes the whole thing feel more real, which can be a morale boost. But those things should ultimately only ever be a means to a particular end. In my view the initial priorities were clear: get Magnate into people’s hands so they can enjoy it and – when they don’t enjoy it so much – give me feedback which will enable me to improve it. For that purpose a Naylor Games logo wasn’t relevant. People don’t have a lot of space for you that you get to rent in their heads. If there was one word I wanted them to remember it isn’t my name, it’s MAGNATE: MAGNATE, MAGNATE, MAGNATE. That meant all the focus needed to be on that when it came to marketing material. Besides, given the design blog focus of the site (which I dearly want to get back to soon!) a title that befitted what I was trying to do – “James Naylor: Game creator” was better than just calling it by a URL I purchased for brevity and future proofing.

What can a good logo do?

A logo is an opportunity to do two things: 1) Create something eye-catching and memorable that people can attach in their mind to what they think and feel about your business and 2) Communicate something about what the organisation is about in that image.

By default, people will associate some image with your company. So the first thing is really just an opportunity to be stickier: the bolder and more distinct the logo, the better chance that the whole company identity will likely stick in the associative web that is human memory. Lots of logos are pretty bland or similar to others. This can sometimes be deliberate. Some companies would much rather a project a clean, unthreatening and professional if bland image than risk something that sends the wrong message and sticks in the mind for the wrong reasons.

But for games companies, I think this is normally less of a risk than it would be for a professional services business, for example. After all, games are supposed to be fun: so appearing unserious or even ‘wacky’ is unlikely to ever lose a publisher any business. This is why I think its a bit sad when entertainment company logos just ape the professional, clean style. They’re missing an opportunity to communicate their creativity. I think the same is also true when they embrace the fun but don’t spend enough time thinking about what they want to say – they’re missing out on the power of the second thing logos can do. Instead they often just go for something jazzy looking that is a literal iconified version of their company name. Or they choose some archetypal game imagery, relatively randomly, to indicate the company is about games without thinking about what it could say about their games. As a result, the relative distinctiveness is also lessened: If you’re not thinking hard about your unique identity, it’s easy to default to using the broader patterns of design that all similar companies use.

What was the process?


In this case, I had a somewhat clear idea for the design immediately. I sketched out some ideas and created a digital one of my own for the Magnate sample box like this:

I am not an artist, so these weren’t very satisfactory to begin with (the one on the left looks like a mountain-wear brand!). But crucially, they helped me start communicating the idea. Next I briefed the logo into two different designers so they could do some concepting work. I provided my sketches, described what I hoped the logo could achieve and included multiple reference materials to capture the kind of mountain I wanted. They tried out many different ideas – which allowed me to think through what it really needed and what was more/less important. I showed these to friends and colleagues and got them to give me their feedback to help steer it further. The two front-running concepts were these:

As you can see, they are very different styles, and neither was quite right yet. But with them, I could re-brief to the designers and even begin iterating myself using Adobe Illustrator. While I am not an artist and don’t have the required visual flair to take something from brief to finished art, I have become relatively competent with editing vector graphics. To make all the small visual changes required to bring Magnate to market, it became a practical necessity. So it was easy enough for me to spend a few hours playing with the designs, iterating further with more feedback from colleagues until I had the final design:

Why this design?

Now comes the part where I could look very silly.

It’s all well and good to describe the theory and note where others have, perhaps, not used the logo to its full potential. Its another thing to do a good job yourself. So here’s my explanation for why I made the choices I made for the Naylor Games logo. It’s up to you to decide if I did a good job or not.

First practically, I wanted something with strong black and white lines. It would be high contrast (more likely to stand out) and fits nicely with what limited design scheme we’ve been using so far: the current Naylor Games logo, the site template and little “NG” insignia we use on Kickstarter or other materials I’ve created already. Black and white can also lend a little gravitas to a design. That is appropriate because as any who knows me knows, I take all projects quite seriously, even when they are about fun. Hopefully it can subtly suggest we take the business of our customers amusement pretty seriously: We will work and think very hard so other people in the future have the very best game experiences we can possibly create for them. We’re not a group of people having a bit of a laugh while we happen to make games on the side: that’s just not our style. We are absolutely committed to making them as great as they can possibly be, sometimes at considerable cost to ourselves. Making games is just so inherently fun the pain sometimes involved is absolutely worth it. So some degree of gravitas is correct when it comes to communicating what we’re about more specifically.

Crucially though, I also wanted a big splash of colour – which we tried to achieve here with the gradient colours of the dawn light over the mountain. Ultimately Naylor Games is still making games: Its about bringing moments of joy into people’s lives – not professionals solving problems (however seriously and professionally we may take it!). Highly varied colour palettes symbolize cornucopia, possibility, variety and diversity. We’re still promising that fun. We don’t want you, the player, to have to take things too seriously. This is a promise of fun.

This brings me next to the mountain itself. It’s a pretty bold symbol. But it captures – as a mountain peak to be climbed – at least what we aspire to: ambition in both product & game design. After all, our first game is an 812 component midweight, miniatures heavy game that recalls some Monopoly and SimCity nostalgia and aims to finally do a deep property game really well for modern tastes. On one hand, that’s an incredibly stupid first time project for a lot of fairly obvious reasons. On the other hand it is indisputably ambitious. And this to be honest, fits my approach, the rest of the team’s approach and many of our collaborators. We would all rather risk failing in a spectacular way trying to do something different and hard than play it safe. So I think of this also as a commitment to make sure we continue living by that approach. The sunrise over the mountain reinforces the same idea. We are trying to do new things – so the dawn is perfect. Symbolically speaking, it’s another big bet for us to live up to, of course. But I’d rather risk us looking silly in the future if this can, in some small way, motivate us to keep the faith and stay true to our ambitions.

Up the mountain there is a winding path leading towards its peak and where the snow gets thick. You could choose to see that as the difficult journey to make something as good as it can be. But that’s not really why its there. What it’s really about is a sense of adventure, the journey we want to take players on. This idea came from one of the designers who worked on it – to capture the spirit of old fantasy illustrations – like this original art from the Hobbit :

In that case, the path is straight rather than winding but it conveys exactly the same idea. A winding path in a more compact design is an easier, even more archetypal storybook way to convey a journey or adventure. And that’s perfect because most games are storytelling experiences too – although the players make the story. They can take you out of yourself for a time and participate in a world you’ve made with other players. Personally, I love games that use powerful theming to do this and such titles are, in general, the ones we want to make. Again it can say something about what we promise and we want to be remembered for.

Lastly we come to the bottom of the logo – the text itself. Here the story is pretty simple. I wanted Naylor to be a stark and boldly rendered. It its after all, the differentiating part of the company name: itself chosen because it was one less thing for people to remember in the early days. They know me and they know a specific game (e.g. Magnate). My view was that they don’t really need to know about a third thing – a company name – which doesn’t really begin to have a real identity of its own until many years and many products have passed. “Naylor” is also a name which is short, punchy and easy to say in pretty much every country I have ever been to. By pure accident of birth, that made it an easier choice than it would have been for other folk. “Featherstonhaugh Games” (pronounced Fanshaw Games!?!) is just not going to cut it in the same way.

Why is “Games” rendered in the more fun font that resembles the squares of a board? This is my attempt to balance the logo further away from the overly serious and finally eliminate the mountain-wear vibes. I think situations like this is where a bit of explicit game imagery can be useful. Alongside all the other imagery, it still highlights that we are a games company, but it’s also fairly subtle and relatively classy, allowing the mountain image to take centre stage. I tried a few other objects, but squares (with the odd triangle) turned out to be the best. I don’t think its a bad ting they could also look a bit like pixels too (a pure accident) as, since the end of the arcade era, such imagery also communicates the idea of fun & games.

Is this all a bit pretentious? Possibly. But I am willing to take the bet that the level of thought in this logo is substantially less than many successful companies spend trying to get the right one (even if they end-up crap in the end). Hopefully it will succeed. Only you and time can tell.

Mental Health First Aid for people in boardgames: My pledge

I’m pledging my support to the boardgame community as a Mental Health First Aider – a first line support person for mental health. You can contact me at james@naylorgames.com to talk about anything: everything you tell me will be confidential. Organisations interested in using me as a ‘virtual’ Mental Health First Aider for their team should drop me an email.

It’s already a cliche to say – using classic British understatement – that 2020 has not been a good year. I don’t need to re-capitulate why. But one aspect which is only beginning to really dawn on us are the profound and damaging mental health effects it has.

It should not be a surprise to us at all and should have been predicted by every sober thinking person from about March onward. Most of us are living in fear of a serious respiratory infection and watching an endless stream of updates about a worldwide natural disaster unfold. We’re having nearly all face-to-face contact with our friends and most of our loved ones cut off (in some cases, even before they died) and facing the prospect of a decimated economy where we may lose our jobs. An absolutely normal and appropriate human reaction to that is to be angry, depressed, grief-stricken and anxious.

When this does come to an end, many of us will bounce back. Some will even be mentally stronger for it. But many of us will not. The nature of many mental health problems is that, without attention, they can become a vicious cycle of negative emotion and unhelpful behaviours in the face of destructive experiences and worsening symptoms. For people already struggling, these kind of events can be a trigger for a long episode of abject misery or lifelong battle with mental ill health. That’s why early intervention in mental health is so important. Getting people the right treatment for the problems they’re dealing with early on dramatically improves long term outcomes. The hopeful part is this: If people get the support they need, most can make a full recovery from even very serious mental health problems. And for the majority of us, even simple measures can dramatically improve our own mental wellbeing: we can be better than we were before by consciously engaging in a positive way with our own psyche.

That’s why I recently got trained as a Mental Health First Aider. I am providing myself as a resource to help people overcome these challenges in our little corner of the world: boardgames.

What is mental health first aid?

Mental Health First Aid is a training program that teaches members of the public how to help a person developing a mental health problem (including a substance use problem), experiencing a worsening of an existing mental health problem or in a mental health crisis. Like traditional first aid, Mental Health First Aid does not teach people to treat or diagnose mental health or substance use conditions. Instead, the training teaches people how to offer initial support until appropriate professional help is received or until the crisis resolves.” Wikpedia

Mental Health First Aiders are becoming increasingly common in large organisations as recognition of the importance of mental health grows. Of course, given the size of most companies in boardgames, MHFAs are few and far between. Few companies will be able to justify the time and resources involved in getting someone trained. In tiny, passion driven outfits there’s always a thousand other things to do! But having someone outside the organisations to fill this role as a free, on-demand resource seems like a workable alternative.

Both the wikipedia entry and US website for the initiative have lots more great information if you want to learn more.

Why am I doing this?

Personally I’ve always been interested in mental health, long before I even experienced many of my own issues with anxiety and long episodes of depersonalisation/derealisation. The mind is an amazing place, and seeing people mentally thrive is something I have always found beautiful and energising. I have a very long term ambition to study to become a psychotherapist, but with this growing crisis, being able to help people with their mental health right now has never been more important. Early indications are not good: Depression has doubled during the pandemic and the London Ambulance service, for instance, are already receiving double the callouts to attempted suicides from last year. This initiative seems like a practical way I can help: By providing my immediate assistance to those in need while directing them onto other forms of long term support; including professional help.

How will it work?

The idea is really simple: If you have a concern about your mental health and wellbeing – or have concern for someone else – get in touch and I will do my best to support you, directing you to what might be the appropriate next steps for you, based on what you want to do.

My current plan is also that organisations can treat me as their own designated Mental Health First Aider as they wish to – letting their people know I am available for their staff and collaborators to speak to. As far as I know, this ‘virtual’ MHFA approach hasn’t been tried before. There may be limitations. I can’t, for instance, be there in an office to proactively watch for warning signs and let people know I am there if they should need it. But I can provide a very similar kind of support when someone does chose to get in touch. This is very much an experiment but I hope it can, at least, be genuinely useful for someone.

I don’t know what the demand for this will look like. If its very substantial, I may need to start enlisting other MHFAs to join me. Equally, it might be few people feel comfortable talking to someone they don’t know too well; and I don’t get many enquiries at all . But I figure, given what’s going, on why not try it? It can only help.

Can you provide professional help or therapy of any kind?

I am not a therapist. I can provide information and give you, hopefully, a fuller understanding of the wide variety of options there are out there. This can include self-help options if you decide you don’t want to take things to a professional. I will listen to you, we can talk things through and I can be a helpful sounding board or listening ear. But I can’t do the job of a mental health professional.

Is everything I or others tell you confidential?

Yes. I will not pass on anything you tell me to anyone else. However, it is my duty to get help and disclose what I have been told if I believe someone is in real danger of harming themselves or others. Outside of such a situation, I will always ask you first if its ok to share some details with people around you, if it sounds like that could help.

I don’t live in the UK, can you help me?

I can provide support to anyone, anywhere. We will need to be organised if the time zone difference is significant, but even that is only a small obstacle. The only major limiting factor is language. I can only provide support in English.

How do I get you to become our company’s designed MHFA?

Just drop me a line at james@naylorgames.com and we can take it from there.

How do I get in touch with you if I need help?

For now, just drop me an email at james@naylorgames.com. Only I have access to that email address. We can set-up a further chat or conversation using any means you feel comfortable with after that or keep it by email; whatever you prefer.

I’m James – don’t be afraid to ask me for help.

Naylor Games Conventions – 2020

Even though all of the big physical conventions have been called off this year, Naylor Games will still be hitting the virtual convention circuit. Check out our event calendar below!

Events calendar

Our virtual events calendar shows all the events we’ve got coming-up:

Virtually Expo – 21st-23rd August 2020

At this replacement for the usual UKGE show we’ll be staffing a virtual stand and streaming some demo games you can watch:

  • Virtual stand number: V-23540 (Link will go live during the event)
  • We’re available to chat on Discord to answer any of your questions at any of the times shown in the calendar above.
  • We’re streaming demo games at several points throughout the weekend – check the virtual calendar above to see when and what we’re playing. Just copy an event to your own calendar to get a reminder.