Becoming an IPR Publisher
We’ve had quite a few people contact us about selling their games at IPR recently, so here is a quick rundown of how to apply to become part of our network of publishers!
Firstly, why become an IPR publisher in the first place?
Unlike other distributors, IPR sells your games on a consignment basis. We pay publishers 80% of cover price for PDF sales, 70% of cover price for sales to customers through our website, and 44% of cover price for sales at conventions or to retailers (we get 11%, the retailer gets a 45% discount from cover price).
The cut is all the fee you'll see. IPR's cut covers all the costs involved in a sale transaction: bank transactional fees, shipping discounts for the buyer, and a modest amount for IPR to cover other expenses & profit. By sticking with a flat, covers-everything cut, your costs should remain predictable.
We’re also a destination site for retailers and individual customers, since we offer so many awesome TTRPGs in one place! Plus we take your games to conventions, including Gen Con and Origins Game Fair. We’ve also got a network of affiliates that sell at conventions under the IPR banner all over the US, and all throughout the year as well!
Sounds cool, so how do I apply again?
Send a physical copy of your game to us at:
Indie Press Revolution
c/o Jason Walters
PO Box 247
Gerlach, NV 89412
USA
Then email a PDF copy of your game to us at
[email protected], and introduce yourself as well!
If you don’t want to send along a physical copy of your game for us to review, for whatever reason (most commonly because international shipping prices are a beast) you can just send us a PDF, and let us know why you’re not sending a physical copy at this time.
Once we’ve got a copy of your game, we’ll read through it to make sure it meets IPR’s quality standards. What exactly does that mean? Well, as our Prospective Publisher FAQ states:
“Excellent art, professional quality layout, attractive and eyecatching cover design, meticulous editing, well-written text, and a compelling rule set and/or setting. These are the criteria on which all submissions will be judged. If your product is lacking in any of these areas, it might be rejected. We are looking for products that make us sit up and take notice.”
We also will not take any games that contain bigotry in any form. As we always say, IPR supports trans rights and BIMPOC creators and gamers. Fascists, Nazis, and TERFs can all fuck right off.
Now I will say that if you’re even thinking about maybe submitting a game to us, do it! Even if we reject your game at this time, we will always give you clear feedback on exactly why, and we are always up for giving advice on how to make your game retailer-ready!
If you’re approved, then we’ll send you a contract to read through and sign, get you set up with an IPR Publishers Account, and tell you where to ship your product and where to enter information so we can get the products set up on the site.
This all sounds pretty good but I’m still nervous! Do you, AC, the person writing this who is also the person that approves all incoming products to IPR, have any tips for me?
I do! The main thing is to read through our Prospective Publisher FAQ before submitting anything. Everything I just wrote out here is on that page, but it also has plenty more info that is good to know before working with IPR.
Seriously, I can tell if you’ve read through our FAQs before submitting, and while I absolutely will not judge your game based off of that, it does help everything go much quicker and smoother, and I appreciate it greatly.
We’re also not generally looking for large TTRPGs at the moment. Shipping prices are awful and only getting worse, so hefty games that weigh over two pounds are not our top priority.
Furthermore, we only deal in physical books. We sometimes take PDFs if they’re a supplement for a game we already have in stock, and if they don’t have a physical version available. But really PDFs just don’t sell through us! You’ll have much better luck on itch.io or DriveThru, trust me.
Lastly, just email me!! If you have any questions about anything TTRPG related, or if you’re worried about your game being accepted, or you’re not sure where to get your game printed, or anything else,
[email protected]. Email me. I love talking to TTRPG folks! And if I don’t know the answer to your question, someone on staff will.
We’ve also got our Publisher Tips Page on our website, which includes a bunch of information on how to make your game attractive to retailers, as well as how to ship it safely, a bunch of printers that we recommend, and more!
Wow this was all super cool and helpful, but I’m actually planning on crowdfunding my game this year! Can IPR help with that at all?
Yes! We offer crowdfunding fulfillment services, which I’m going to talk about more in another post, but you can also read all about them on our Crowdfunding Fulfillment FAQ page.
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A Jonathan Byers Meta
I’ve been thinking so much about Jonathan Byers and I have some thoughts (again). (Feel free to reblog if you want but please be nice if you do so!) Jonathan is a person whose core trait, one of them at least, is that he responds so strongly to context and specifically to the kind of context he understands and wants, a trait of many oldest siblings I think. And in that context he can be so many things he is not necessarily in every area of his life. So much of that forward moving momentum he has in the first couple episodes of the show where he’s doing so much so powerfully is caused by it being a context he understands and has chosen to embrace and live out to the fullest- the context of him being the most responsible/capable member of the family. He loves Joyce and Will; he hates Lonny and is going to keep him away from his family at all costs; he considers himself the one in charge. And there is a softness and strength to that that feels absolutely luminous, that feels like nothing can shake it. And so as the show goes on and the lens widens to include more characters and perspectives it feels like Jonathan loses power/feels a little lost/drifts out of the center of the story. And for a long time I considered that a failure of the writers. They paid attention to him at the beginning, I thought, but then dropped him and that wasn’t his fault. But I rewatched Stranger things (seasons 1 and 2) this past spring and actually the thing I saw that surprised me is it makes sense on a character level that he loses that central ground and power so to speak because he is put into a context he no longer really understands or just as importantly doesn’t really want to be in. And yeah I’m talking about his dynamic with Nancy. His dynamic with Nancy in those first few seasons confused me the most and for the longest time because it began so powerfully and then felt like it veered off course. I loved it so much, shipped it so completely, and then lost interest as the show goes. And again I blamed that on the writers (in a way I still kind of do because they’re clumsy but more on that in a minute.) But I think there’s more going on on a character level.
The first beats of Nancy and Jonathan’s story feel so powerful because it’s actually part of that same context of compelling power in which we first meet Jonathan (and if you’re me fall in love with him fast). Will is missing and Nancy steps in to not exactly his place in Jonathan’s family but the position he occupied--and that’s because a) she is trying to solve a problem that is connected with Will’s disappearance, b) she needs help while doing so. Jonathan responds to that context effortlessly and powerfully. He joins forces with her and without any question or hesitation takes care of her physically when she’s in danger. It’s surprising and it’s moving and it feels at first like just an extension of that quiet competence and force of personality we witnessed in the first couple episodes but this time in a romantic context. But actually, it still isn’t romantic with him. It isn’t for him for a long time. Basically until the writers force his hand. And that’s because ---and this SHOCKED me when I rewatched the first two seasons a month ago, almost to the point of anger and quitting the show forever--the show never actually succeeds in establishing that he likes Nancy as a person! It’s clear that the writers intend the audience to pick up on that subtext (or I think it’s clear that that’s what they want) but they bungle it badly if so. The actual basic cues that would tell us Jonathan has a crush on Nancy and have us buy it as a believable emotional experience are missing. There isn’t a scene or even a moment where in any way Jonathan expresses any kind of romantic interest in Nancy at the beginning of the show. It’s not part of the establishing his character. His reasons for taking pictures at the party are muddled from the perspective the show is trying to force and it doesn’t work because all Jonathan has done is be vaguely polite to Nancy at school, caught her eye (quite frankly ACCIDENTALLY that one time), and disappeared down the hallway at the speed of light every time she turns around. She was far more intrigued than he was. The show gives us that moment with tears in his eyes where we’re supposed to believe (I think?????) that he’s so upset she’s with Steve but it’s incongruous and feels so weird and jarring you kind of have to throw it out. Because the show hasn’t done any work of telling us why that would be the case at all. No pining gaze! No mention! No conversation! The conversation they have in the hallway doesn’t communicate longing on his part, only a desire to be away from the cool kids. There isn’t even a time where someone else teases him about his crush on Nancy, the easiest way to introduce the fact of one character liking another. It’s not much of a stretch to believe that he hasn’t really thought about Nancy romantically at all. In fact it’s honestly a stretch to think he does. And there other reasons for his being there that make more sense--though I do think it’s bungled from a writing perspective. He misses Will, he’s out looking for Will, photography is his passion (lol), he doesn’t like the cool kids, he stumbles on their party “eh might as well take a picture and be the cool outside observer that he is.”
And because the writers didn’t give us a clear and unambiguous liking of Nancy from Jonathan as a starting point everything that comes after between them, even romantically or romantically-adjacent in that first season, hits differently once you watch it patiently and closely. It becomes clear that all of Jonathan’s care-taking of her is response not to her as a person he is romantically interested in, but response to context, to being the responsible one, the helper. He gets out her sleeping bag and puts it on the floor because he’s really not thinking with any part of his brain about how he’s in the room of the girl he likes. Because he’s not! He’s there as a larger part of the context the show established for him in the first couple episodes--his family, his role as caretaker. And of course that doesn’t mean that Jonathan couldn’t fall in love with her later just because the story never actually established that he liked her romantically when it thinks it does. Of course that could come later, come OUT of their interactions. but .... it doesn’t. It never really comes through. The most powerful part of their story together is the first part because it’s the only time in their relationship where Jonathan is moving with that characteristic firm decision making and competence. He’s very powerful when he’s saving her life. But everything else feels flat. And part of that is because he’s not a person who changes easily or very much at all. There are things about him that feel powerful and real and RIGHT and then there are things that just feel like him doing what the writers want him to do and those aren’t the same. Everything having to do with Nancy romantically feels like the second thing, like something the writers are making them do. The show even has to use Murray to get their romance actually jump-started because these aren’t really characters electrically drawn together. And so some of the stuff he says, the romantic stuff--it’s easy to handwave. And/or to find other reasons. And no this doesn’t have anything to do with shipping bias, though my shipping has been influenced by paying close attention to his behavior and actions. Because despite the power of Charlie Heaton in a gray sweater backlit by the red light of the darkroom with his hair falling over his face, nothing about it hits the way a Jonathan emotion should hit. And it should hit! The right stuff does! He’s brilliantly and truthfully acted and he’s layered and the right Jonathan moments SING. He’s not really a talker, not fundamentally, he doesn’t show his heart that way but in actions and only some of his actions with Nancy, the ones that really are just part of the context he’s comfortable with, really ring true. The point that I’m trying to get at is that when you look at those first few episodes really closely, emotionally there are only really three things that are actually--in character and in truth-- established about Jonathan’s heart.
They are. One- he loves Will. Will is his person, his world, the center. The one he’s always going to protect first, think about first. Will tells us he doesn’t have friends and Jonathan protests it but that probably came from somewhere. His favorite person in the WORLD is Will. The context of Will’s disappearance highlights that so clearly of course but I think we’d see it even without that. The second thing is that he loves Joyce but he doesn’t particularly trust her judgment, considering himself more of an authority on what this family needs than she does. This establishes a distinguishing quality in him, a pickiness and choosiness and prickliness that is essential. He won’t love blindly and he certainly won’t let just anyone in. (When he says he doesn’t like people we should maybe perhaps believe him and not pass him off as a secret softie.) Joyce is part of his inner circle (I love their relationship a lot actually) but he is not uncritical even of her. This is someone who likes to keep people out because this is someone who doesn’t have endless patience for people and the way they do things. He wants things HIS WAY. His way is domestic and so is the context- he’s frying an egg and it feels so homey and good you want to say he’s a softie and a cinnamon roll- but it comes out of a character who knows what he wants. And the third thing, hilariously enough, is that he hates Steve! Somehow the Duffer brothers DO establish this in a far more convincing way than they establish him liking Nancy. He tells Nancy “he doesn’t like most people” and this is true but Steve is a little bit of an exception in a worse way, as the leader of the popular kids. He’s the figurehead for all that Jonathan dislikes and despises and wants to keep out of his inner circle. The fight that Jonathan and Nancy have in the woods feels far more about his disdain for the cool kids than it does about him really liking her and wanting to rescue her from that. The nerd lecturing the girl who wants to be cool and telling her she’s better than that is a stupid trope and one far less romantic than it thinks it is but because the show has established, intentionally or not, that Jonathan doesn’t really care about Nancy romantically all that comes through in a truthful way is that he doesn’t like popular kids. That emotion, that dislike and almost disdain that lives at Jonathan’s core, is expressed far more authentically than any warmth towards Nancy and it’s so telling that it’s that dislike that collides with the other strongest feeling of his life, loving Will, and leads him to half-killing Steve in the street. The warmest Jonathan ever acts towards Nancy is the warmth of context and the warmth of Will (in his absence) and when those reasons fall away you’re left with something curiously cold. And Jonathan, when he loves, is not a cold person. He’s not a chill person. And so watching him do things like give Will Nancy’s gift to him (a hilarious moment), make Nancy leave out the window (actually very dark and strange considering that Joyce knows they’re sleeping together), literally forget Nancy exists when Will comes back and it’s him and Joyce and Will again, ---you can try to tell yourself that that’s just how he loves. But it isn’t. Because we know his warmth in his hatred and in his loves. And for Nancy it really is just kind of “ehhh.” It’s indifference.
tl,dr; the show thinks that it’s telling a convincing love triangle for sure. But because they don’t establish liking Nancy as a person as part of his character early enough and because he isn’t a character whose fundamental traits change or change easily they don’t actually build a convincing enough romance. It’s because Jonathan is a person who responds to context, even the wrong one, and because Nancy has her own journey and insecurities to work through (a different meta) they stay together for a long time. But it isn’t satisfying and it doesn’t work because it doesn’t actually strike deep enough in Jonathan’s heart. It’s not a context he really wants at his core. If he falls in love it’ll have to be with someone he wants to allow right into the very center of his life and heart and right now he’s not interested in anyone being in that place except his family. And so because he’s kind of stuck in this situation (of his own choosing, I’m not absolving him of that) because Jonathan likes routine and to keep doing the same things and is not self-motivated in the most powerful way to be able to get out of this romance—-he drifts to the edges and stops really doing anything interesting at all. He starts doing pot, won’t go visit Nancy on her spring break etc. He’s not really the boyfriend he could be in any way because I think fundamentally he doesn’t want to be. And the show may put other words in his mouth about this, I kNOW that the show doesn’t completely agree with everything I’ve written here. But it seems to me the only true way to read him in light of what he actually does and how different it is when he’s acting with his whole heart and when he’s not.
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ngl it's getting rly annoying seeing people say "remake of x game!" constantly. people are so obsessed with the idea of remakes lately. they don't wonder what the next new game will be like. they just want remakes (including in franchises that don't do those often. not every franchise is Tales, where they've been doing remakes actively throughout its lifespan and not just during this Uwu Remake Era).
with FE, remakes make me a bit eh bc they've all sold poorly or just barely made a profit. Marth's games' remakes on top of the failed Tellius sales almost sent FE into its grave. SoV is just... there. it happened and the fandom moved on, save for the Alm and Celica alts in Heroes.
but like, it was so annoying watching VA interviews and just seeing the word "remake" thrown around so much from the chat. people want "remakes" of games that just don't need them. updated ports is one thing, but entire remakes?
there's more to FE than remakes, but it's all people seem to talk about. I'd like Tellius ports as much as the next girl for people's accessibility (and specifically bc IS' lack of marketing destroyed those games' sales and now they're so rare they're super expensive), but a remake? it's not necessary. even with quality of life features added, those games only need ports. I play them very regularly and frankly have way more fun with them than I do with modern day Menu Emblem.
also, I don't want the fandom wank carrying over into remakes of games that never even had wank. the biggest wank Tellius ever had was the Ike vs Micaiah wars in the fandom, which were not only a fraction of what happens now post Fodlan games but also weren't anywhere near as aggressive.
idk I'm just tired of remake this, remake that. it's also because of the rampant remakes in the industry that I'm tired of it, but it's also tiring to see it constantly in this fandom. I'm glad that FE7 is coming back, but as a port on the Switch and still as a GBA game. FE4? super glad it came back as a port (JP eShop only). remakes though? too tired of the concept (especially when FE remakes have not only almost killed the franchise from lack of sales but were otherwise just mediocre and moved on from pretty quickly). I also don't trust the FE fandom with remakes at this point. character hate is so rampant in this fandom that for the life of me I don't even want Tellius ports if it's going to save me the headache and aggravation from people's lack of character comprehension. :') that shit will turn me into a hard stan and my blog will have to be painted in my blorbo just to keep haters away. :'''')
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yikes... you worshiping male characters regardless of what they do while criticizing jen walters for the few bad aspects of her show that can be attributed to the writers and not her... your blog says everything about why you make it a point to hate watch she-hulk every week and it's incredibly disappointing. i'm not some mcu fan who loves everything they put out, but man, it's tiring seeing people criticize media like she-hulk in bad faith waaaay more than mediocre white male media. oh well :/
This is... actually really funny because you don't always get anon hate that tells on itself so much.
I've been very clear and consistent about specifying that I don't dislike Jen Walters and in fact really like how she's portrayed by Tatiana Maslany. Her performance is the only really worthwhile thing the show has to offer, and it's why I find it so frustrating that they don't really do anything interesting with her. Every post I've made has been about the writing or specific narrative choices or the CGI or something to that effect.
As for me "worshipping male characters", whomst??? I'm not even really sure who this is about, as there's not a single male character I've posted about uncritically on here. Best guess is that this is about Matt Murdock, which like... I drag him constantly for being a shitty person and a crappy friend. I think his narrative arc is incredibly compelling and the Netflix series was really good, but I hope I don't need to explain to you that there's a difference between finding a character's narrative compelling and liking them as a person/co-signing their behavior, especially when you also criticize that behavior.
I think a lot of the criticism for she hulk has been bad faith dude bros whining because a woman was in a marvel thing, and that's dumb bullshit, but you can't lump all criticism in the same boat. My problem with she hulk, which is my problem with a lot of marvel's stories centered around women, is that they market them as though they're some groundbreaking feminist storytelling and then do very little to actually develop the story or characters well and coast on mediocrity that's only made passable by the talented women they cast. It's a huge disservice to the characters and to anyone who actually gives a shit about them. I'm not going to applaud them for crumbs, and if you're going to sell your work on it's "feminist storytelling" then you sure as shit better deliver more than a shallow girl power narrative. It's 2022.
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I keep thinking of that reply in my Odysseus/Agamemnon post about how I regard differently Odysseus' and Agamemnon's actions, while acknowledging that at times Agamemnon is written as a sweet man and Odysseus is always straight up shitty, and how it was taken as some sort of defense for Agamemnon and as a form of pointing out the double standard; and that wasn't at all what the post was about for me, even though I can see where they were coming from. To be honest, given I didn't imagine it would spread anywhere other than my own blog, I didn't explain myself very well (or at all).
The fact is that when I talked about Odysseus not caring about hurting someone else's child to start and end a war I was indeed comparing his actions to Agamemnon's, but my words about supporting Odysseus' wrongs and cheering him in his terrible actions, while in a joking tone, weren't entirely a joke. I do think that Odysseus does some very shitty acts, and some quite terrible ones depending on the sources. That's a fact, that he does is at the core of his characterisation and it's what makes him so much fun; but not even when he is at his most cruel does he harm his family, his own son. Agamemnon, while sweet and loving at times in some texts, at his worst is willing to sacrifice Iphigenia. When readers regard with more sympathy Odysseus over Agamemnon despite both being responsible for children dying, I don't think there's a double standard in this aspect at all considering it's never his own kid Odysseus harms. And that's the key, I think.
Odysseus and Agamemnon have very different priorities, a very different view on loyalty and duty. It could be said that Agamemnon acts out of selfishness, but it could also be read in a kinder light, saying that Agamemnon is ruled by the gods first, and by his role as head of the achaeans; Agamemnon is not entirely himself. In opposition we see Odysseus acting perhaps mainly for himself and his own family and men; yes, he is a king, but he has not the role Agamemnon has. As a consequence, Agamemnon submits his family's wellbeing to the war, to the gods, while Odysseus stops the plow before hurting Telemachus but is (depending on the source) the cause of Iphigenia's sacrifice and Astyanax's death.
Both Odysseus and Agamemnon have reasons to support their actions, and both can be sympathised with; it's fiction after all. When it comes to fiction, at the end of the day which character a reader is drawn to or sympathises with is mainly an issue of personal taste, but I suppose it also implies a certain level of one's own views or preferences on morals, what makes us find certain actions more justifiable, or tasteful (perhaps that's a more accurate word), than others. Agamemnon sacrificing his daughter, no matter how sympathetic or understandable the reason, generally sits worse on people than Odysseus doing the same with someone else's kids, because they're someone else's. This different emotional reaction they provoke has place not just metanarratively, but also inside the very story; it is narratively significant, given it determines how their arrival home plays out, how their wives react to them, and thus their futures. Ultimately it determines whether they live or die.
I think both terrible acts go in line wonderfully with each characterisation, showcasing the role they hold in their world, what they value, what they care for, what they're willing to sacrifice for themselves and the others, how much of their own they're willing to give and bend. While looking at the wider picture it could perhaps be drawn that Agamemnon is the better person out of the two, but Odysseus' selfish actions are perhaps easier to empathise with, especially from a modern viewpoint. Odysseus is treacherous and prone to betrayal, but not against his own; Agamemnon follows the rules of the gods. How fitting in that context that Odysseus doesn't die at the end of his story, that he cheats the death heroes so often are fated to, almost as if cheating the narrative itself, bending the rules of the world he is ascribed to; how fitting in the context of those texts that point towards Sisyphus being his father. But that's another topic, and I've already talked a lot.
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