From Teasers to Lifelong Fans – How DRS Publishing Builds Worlds and Runs Successful Crowdfunding Campaigns?
Crowdfunding in the TTRPG industry is about more than raising money – it’s an art of community building, storytelling, and generating momentum long before launch day.
In our conversation with Dream Realm Storytellers, we explore their marketing philosophy: from early teaser posts and pre-launch mailing list campaigns, to engaging fans on Discord, supporting community creators, and differentiating IPs like Svilland, Bloodpunk, and Silverplate.
This interview sheds light on their strategies for standing out in a crowded market, the balance between creativity and business, and their perspective on the future of the hobby – from the growing importance of VTTs to the challenges posed by AI.
Onwards!
Before launching a crowdfunding campaign, what are the first marketing actions you take to build awareness and momentum for a new setting or product?
We start off with teaser posts on our socials and set up our Kickstarter page before launch. We also use our Discord channel and mailing list to announce our upcoming project.
How far in advance do you usually start your pre-campaign marketing, and what content formats or platforms have proven most effective for generating early interest?
We usually begin our ads and marketing campaigns 1–2 months before launch. Our ads on Instagram and our mailing list with content marketing have proven to be the most effective.
During a campaign, how do you balance between attracting new backers and keeping existing backers engaged and excited?
We use influencer marketing and social media ads to attract new audiences, while relying on community tools like Discord, our mailing list, and detailed launch pages to engage with existing backers.
What role do influencer partnerships, actual play streams, or community creators play in promoting your projects?
We value our work beyond its material cost. Whenever we come across content related to it, from actual play streams to unboxing videos, we make an effort to reach out and show support. We rarely approach well-known influencers for paid advertisements, as we prefer to prioritize authenticity.
How do you measure the success of your marketing efforts beyond just funding totals – for example, in terms of community growth or long-term sales?
We track community growth and engagement on Discord and social platforms, as well as increases in our mailing list. We measure how well this converts through content releases alongside total funding.
What have been your most successful tactics for converting casual followers into active backers and long-term fans of your worlds?
Content marketing through items, monsters, and small supplements has proven useful. Maintaining consistent community support and delivering quality updates on our products also drives word of mouth, thanks to our loyal customer base.
Do you see a difference in marketing approaches between your various IPs, like Svilland, Bloodpunk, or Silverplate, based on their tone and target audience?
Our tone shifts depending on the IP. Our grittier projects, such as Svilland and Bloodpunk, have attracted larger audiences.
When creating a new IP, how do you ensure it has enough depth to support not only a campaign book, but potential expansions, spin-offs, and cross-media adaptations?
We have ideas that could fill thousands of books. We often discuss them among ourselves just for the fun of it, then take a step back and narrow them down to what can fit into a single book. Each IP is designed with thousands of possible stories in mind, though we do not always have the time or resources to create them all. The depth comes from the fact that the stories we have shared are part of a greater story that remains untold.
What challenges have you faced in protecting and expanding your intellectual property when your worlds start gaining recognition?
We do not actively try to protect our IPs, as we have never needed to. If another studio feels the need to twist our work to make their own, it only shows a lack of the critical thinking and imagination required to build an enjoyable world. In a way, our work protects itself.
The TTRPG market is increasingly competitive – what’s your strategy for making your worlds stand out visually and narratively?
Producing stunning art is always a priority for us. Almost always, potential consumers engage with our work visually first. We take great care to consistently work with talented artists. Narratively, we always try to shake up the market with strong USPs. Svilland being the most faithful setting for Norse mythology and Silverplate offering a completely unique, lighthearted setting are great examples.
You’ve recently announced a video game project set in Svilland. How do you adapt your IP for a completely different medium while keeping its core identity intact?
We prioritize storytelling and immersion. The medium may change, but these values remain the same. We believe that as long as we tell a good story and support it with immersive artwork, we can convey the spirit of the IP without issue.
How much do you rely on community feedback when developing lore, mechanics, or future content for your existing settings?
We always gather feedback through our Discord channels and other communication platforms. While staying true to our original vision is important, there’s a balance to strike. We take all kinds of feedback into consideration for future projects.
Have you found that building a strong brand identity around your worlds increases trust and makes each new campaign easier to fund?
13 - Absolutely. We’ve built a strong brand identity for Svilland as a gritty and realistic Norse setting. In the long term, having a recognizable brand helps drive sales.
Looking at the evolution of the TTRPG industry over the past few years, what trends do you think will define the next 3–5 years?
The VTT scene is growing rapidly, and we believe it will play a major role in the near future. Its improvements in automation and tracking make it much easier for newcomers to get into the hobby, whether they play online or face-to-face. Tools like Alchemy, Foundry, D&D Beyond, and Roll20 have already become industry standards. We’re currently adapting all our IPs to various VTT platforms.
How do you see the balance between mainstream, system-agnostic content and system-specific releases like 5e products shifting in the near future?
While system-agnostic content is very popular and useful, system-specific material will always have its place in TTRPGs. The market continues to grow, with many game systems catering to niche experiences; like D&D for heroic fantasy, Call of Cthulhu for horror and investigation, etc. While there’s a good balance between the two, we believe niche but well-crafted systems have greater longevity.
Do you think the rise of virtual tabletops and online play has changed the way publishers need to present and market their products?
Definitely! Releasing content for VTT is a huge plus. Audiences expect adventures, monster packs, and items to be available on VTT. The challenge here is the need to integrate with many different platforms in order to reach a wider audience.
What’s your perspective on AI tools in TTRPG creation – from generating early concept art to helping with text editing or translation?
While AI can be used to fast-track editing and art creation, we’ve steered clear of it so far.
Have you experimented with AI internally, and if so, where do you see its benefits and limitations in your creative process?
As mentioned, we don’t make use of AI. While it has its merits, experienced writers and artists always produce higher-quality content, even if it takes longer.
Some creators worry that AI could homogenize visual styles or weaken the uniqueness of an IP – do you share those concerns, and how do you safeguard against them?
We are concerned about its impact. We’re already seeing its effects on the market. While AI helps smaller teams and solo creators generate content that wasn’t possible before, it ultimately hurts creativity. We work hard to constantly improve our skills and expertise to ensure we don’t need to rely on AI.
If you had to give one piece of advice to a small TTRPG publisher preparing for their very first campaign, what would it be?
Writing fantasy content and creating new worlds is fun, and in the end we are all here to enjoy the impossibilities in our minds. However, if you want to turn this into a business, it is important to also learn its business side. Keep creativity and business separate, but always know how your studio operates.
