Thunderstone Quest Kickstarter: Closing the Pledge Manager to Reward Changes

Backers, the pace of new users closing their Rewards on Backer Kit has ebbed, so we are going to be closing the Pledge Manager. This means that you will not be able to add Add-ons to your Reward, or change your Reward from Adventurer to Champion. The changes to the Pledge Manager will be effective sometime tomorrow (Saturday) so please make any last minute changes today.

You will be able to continue to update your ship-to address until just before we ship.

If you have funds left on account and you miss the closing of the Pledge Manager please email and we will try to help you. We cannot guarantee the availability of Add-ons or other changes after today.

— The Thunderstone Quest Team

Lovecraft Letter The Art of Lovecraft Letter

The Art of Lovecraft Letter

“E pericoloso sporgersi”

Last year, my colleague Jade Yoo from Board M (who publishes Love Letter in South Korea) brought back a copy of Lovecraft Letter from Japan and showed it to me. A new variation on the game, still by Seiji Kanai, with more cards, a strong theme well displayed in the card effects and a new Sane/Insane mechanic adding push your luck elements to the game and making choices a little more risky for players.

Alderac Entertainment Group (AEG) has the International rights to Love Letter and, after an initial contact, and due to common passions and interests, I ended up accepting to illustrate and graphic design Lovecraft Letter for its English edition, that I would qualify as “Deluxe”.

I have to say that creating artwork for Lovecraft Letter was a very interesting challenge.

First of all, it is quite the opportunity and honor to be able to work on Seiji Kani’s Love Letter, a micro game which due to its accessibility, originality and re-playability has reached a very large audience of gamers, be they family, expert or casual and has already had various licenses attached to it.

As a huge fan of the original fantastic fiction literary genre (my pillow book is The House on the Borderland from William Hope Hodgson– a novel that Lovecraft himself called a masterpiece!), it was sort of a “at long last” sigh of relief to me to be able to be the sole artist on a game that would involve the creatures and the odd world borne of H.P.L’s imagination. I had worked 10 years ago as an artist for Fantasy Flight Games on their “Call of Cthulhu” CCG but unfortunately not enough to let my imagination loose.

When you undertake a task of such magnitude, you have to slow the process down, find the right tone, hit the mark before you can grab your pencils and brushes; something that isn’t easy to do when you consider that you have to merge two very important pieces in Lovecraft and Love Letter. For some time now, akin to when Lord of the Rings released on the big screen, the fantastic genre (and especially horror) and everything that revolves around Cthulhu has become more and more mainstream across the board (in cinema, games, literature…) which invites further caution to make sure you stay true to the source material.

I have always approached my work in a very direct fashion. For this, I thought to myself that Love Letter is now a reference in gaming, a classic. Cthulhu and his cast of friends are a classic in the “monsters, horrors and fantastic creatures” genre. As for myself, my training is classic as well. By that I mean that the traditional technique that I use (pencils, brushes on paper, by hand) gives my artwork a very unique non-dated feel that tries to give life to the illustration itself over time.

So, without trying to reinvent the wheel, we elected to stick as close as possible to the source material. Alongside Nicolas Bongiu (who lead the project for AEG), we have researched descriptions and texts in the Cthulhu mythos to showcase in the most accessible manner his very particular universe, and therefore present it to the Love Letter audience of gamers and mythos aficionados alike. Of course, we didn’t shy away from giving our own take on the source material when we felt it was needed, which is often the case when you’re tying a theme to a game.

So, without trying to reinvent the wheel, we elected to stick as close as possible to the source material. Alongside Nicolas Bongiu (who lead the project for AEG), we have researched descriptions and texts in the Cthulhu mythos to showcase in the most accessible manner his very particular universe, and therefore present it to the Love Letter audience of gamers and mythos aficionados alike. Of course, we didn’t shy away from giving our own take on the source material when we felt it was needed, which is often the case when you’re tying a theme to a game.

Those artistic ideas taking form, AEG decided to bring the game to the size of previously released Love Letter Premium: large box with magnetic closure, tarot-sized cards, custom envelope-looking sleeves and double-sided poker chips for the victory points. This contributed in my opinion to a classy and supercharged edition, of which I’m personally elated.

Those artistic ideas taking form, AEG decided to bring the game to the size of previously released Love Letter Premium: large box with magnetic closure, tarot-sized cards, custom envelope-looking sleeves and double-sided poker chips for the victory points. This contributed in my opinion to a classy and supercharged edition, of which I’m personally elated.

Lovecraft Letter is my first collaboration with AEG and the result and process by which the game was made fully satisfied me (something tells me that you can expect more collaborations in the future!). it is not every day that you can delve into themes and formats that you love, with – as if it wasn’t enough – a good deal of control over the end result.

I hope that you enjoyed this sneak peek inside the process of making Lovecraft Letter … one that comes with a word of caution from Lovecraft himself:

“There are horrors beyond life’s edge that we do not suspect, and once in a while man’s evil prying calls them just within our range.” – H.P. Lovecraft, The Thing on the Doorstep

Vincent Dutrait
Lovecraft Letter a mind-shattering journey into the world of HP Lovecraft and the Cthulhu Mythos warped into the shape of a Love Letter experience will be on sale 19 July 2017!

Lovecraft Letter Designer Diary

The core of the Cthulhu Mythos is of course the stories about incomprehensible beings, and the concept of sanity. I felt that if I were to make a game for this world, it was absolutely necessary for me to include both the meeting with these creatures that went beyond human understanding, and the people being affected by them.

Lovecraft Letter AEG5123, on sale July 19th!

After considering the Mythos through that lens, it became apparent that there was a wonderful cast of actors waiting to be used.

On one hand we have the Great Old Ones, and all the items and servitors that surround them; Cthulhu itself, Nyarlathotep, the Mi-go, the Hounds of Tindalos, the dreaded Book of the Dead (Necronomicon), the Golden Mead that allows one to see the unseen etc.

On the other hand we have the heroes of the Role Playing Game, the Investigators and the allies they encounter: Professor Armitage from Miskatonic University, the Cats from Ulthar in the Dreamlands, Randolph Carter and his family heirloom etc…

First, I had to figure out which characters should be incorporated into the game. Of course, there was the option of simply replacing the eight cards in Love Letter with eight characters from the Cthulhu Mythos, but I felt I couldn’t limit myself to just eight of them. And, with a Cthulhu theme, I felt the game couldn’t do without having the players make some kind of “sanity check” – the most famous words from the roleplaying game, uttered from table to table since the release of the Call of Cthulhu Roleplaying game.

So, I divided up the characters into those who are on the human side, like the investigators or Professor Armitage, and those who are against the human side, like Cthulhu, the Deep Ones, and other items related to them.

The first set kept the same effects as the base game, and I just chose characters that would fit. The Elder Sign that would keep dangerous beings at bay was perfect for the Handmaiden effect for instance, and a card where you guessed another player’s card and could make them lose, felt to me very much like what an investigator could do.

The second set, I made into special cards that spread insanity. To use them meant to get in contact with forbidden knowledge, and get closer to madness. And I decided that they would have large advantages, and disadvantages above the regular cards (a high risk high reward type of effects) since I figured that a lot of players would walk this road to destruction.

The regular effect of the insanity cards would keep the same effect as their normal counterparts. However, if a player had at least one of them among their discard, it would mean that they had encountered these horrors, and therefore would slowly risk becoming insane, and would need to make a sanity check every turn to not get knocked out of the game.

On the other hand, the insanity cards would also have a power that fit the demerit – players who are close to madness would also be able to wield incredible power. The Hound of Tindalos can attack, Mi-go collect brains, and so on. These cards could not only make other people lose, but also let you win immediately! How could anyone resist this sweet temptation?

And this is how Lovecraft Letter  was born. The Love Letter  system, where anyone could be knocked out of the game at any moment, fits very well to the world of the Cthulhu Mythos, where danger is always looming.

My hope is that everyone will enjoy this new version of the game, where you can as easily capture the truth, as fuel your run to victory thanks to your command of the horrors of the Cthulhu Mythos.

Oh, I can hear the doorbell ringing. That’s a little bit odd? Who may be coming to visit me at such a late hour? I guess I need to go check for myself …

Seiji Kanai

Mystic Vale Wins ORIGINS Award for Best Traditional Card Game



COLUMBUS, OH — 17 JUNE 2017 Alderac Entertainment Group (AEG) is pleased to report that Mystic Vale has won the 2017 ORIGINS Award for Best Traditional Card Game and has been recognized as the Fan Favorite Card Game.

The ORIGINS Awards are presented annually by the Academy of Adventure Gaming Arts & Design, at a ceremony traditionally held during the ORIGINS Game Fair in Columbus, OH. The awards were announced this evening.



Mystic Vale is the first game to feature AEG’s card crafting system. Players in Mystic Vale take the role of druids working to heal a wilderness blighted by dark magic. Each turn the players acquire new Card Advancements from a shared pool, and add them to their existing deck, upgrading and changing their cards as they play. After a pre-determined number of victory points are scored, the player with the most total victory points from the shared pool, and from cards crafted in play is the winner. The game is designed by John D. Clair, and was released in 2016. Learn more at



AEG5861 Mystic Vale

A tabletop board game for 2-4 players. MSRP $44.99.

About Alderac Entertainment Group

Alderac Entertainment Group (“AEG”) has produced award-winning games and game worlds for over 20 years. Alderac publishes the popular games Smash Up, Love Letter, Mystic Vale, Istanbul, Automobiles, Valley of the Kings, Thunderstone Quest, and many more. Visit for more information.

Thunderstone Quest Kickstarter: New Card Reveal #1 Fire & Brimstone

Over the next few weeks we are going to bring you some of our favourite cards during playtest and what we did with them. The first instillment is from Erik Yaple.

Fire and Brimstone

So, during one of our playtest sessions, I just was not feeling it and thought I would take it easy – but the forces that be, sometimes have other ideas. One of the characters, Brimstone, is one I had not personally playtested much, so I was requested to check on that hero in our next session.

One of the Quest cards that I drew was The Dragon’s Hoard, so I thought I would retry a previously unsuccessful strategy and spend the majority of my time in the village buying high VP cards for my deck with little concern for the dungeon itself.

Well, fate had other plans. On my first hand, I drew a perfect dungeon hand: all Adventurers and Daggers, which led to more Adventurers and some light from my Lanterns. I ran past the Wilderness straight to a level 2 monster and slayed it.

Knowing my next hand would be a great village turn, I planned on leveling up and buying Lightstone Gems until they were gone.

Which is exactly what I started doing when it came my turn, leveling into Brimstone. For the next few turns I revealed darn near perfect dungeon turns, then village turns. This killed my no-dungeon strategy pretty quickly. I soon acquired a few level 2 Brimstones, which, back then, had a very similar ability to the level 3 Brimstone.

With all of the Lightstone Gems I was rocking, I was slaying monsters left and right, regardless of their drawbacks and abilities, just through sheer force. When you have multiple Brimstones they all benefit from your cards that produce light, and since I was the only one focusing on that character, it was easy for me to get double, triple, and quadruple duty out of my light cards.

Based on that day, we toned down the second level Brimstone – now he has sort of an ability that plays off of your other heroes that provide light – much less susceptible to abuse. That was a day when I tried to play passively, but the card gods drew me into the game, and I was forced to adapt to my shuffles and make the best of my situation. There are a lot of paths you can take in Thunderstone Quest, but there is a random factor that may make some of those paths more attractive despite that not being your original plan.

That’s a sign of a good game. Adapt or perish!

Edge of Darkness: Coming Soon!

The first glimpse of Edge of Darkness was included in the Mystic Vale rulebook. You’ve heard hints of this game since but never more than whispers…

Subscribe to our Edge of Darkness mailing list to ensure you get all the breaking news about AEG’s next evolution of the Card Crafting System as we take you on a journey to a world in crisis and a city filled with intrigue, danger, politics and heroes.

Cutthroat Kingdoms Designer Diary #2 Total Immersion

Advanced Dungeons & Dragons came out when I was a kid. It forever changed my world. Before I played AD&D (or even knew it existed), I’d go into the backyard, deep into the woods, and I’d take a stick and cull the field of weeds with swipe after swipe, leaving my hands blistered and raw.

That was… kind of fun.

But after I found AD&D, I went back into those woods, and looked for seed pods (that were ingredients for a potion of invisibility). I would take a stick, cut it in half, whittle a design into it, and instead of a weedbeater, it became a magic wand, capable (as long as I charged it) of casting incredible druid spells. Little stones became runes imbued with magic, the stream became an elvish river, a tree house was a magical fort, protected with crow feathers that warded away vampires.

I was completely immersed in an experience.

To begin to be immersed in an experience requires a trick of the mind. You need to forget about yourself, for a while. You know, the part of you that says:

“Magic isn’t real.”

“Rocks are rocks.”

“Garlic repels vampires, not crow feathers…”

We need to put ourselves aside, and live in a state of temporary disbelief. But to be wholly and utterly immersed in something does not require a trick. In fact, you are not completely immersed if you are doing anything at all other than experiencing what there is to experience. And that’s what I aimed to do with Cutthroat Kingdoms.

Cutthroat Kingdoms began as an idea to let mere mortals, like you and I, experience what it would be like to be inside a movie. I don’t mean as actors who have to speak a script, or pretend they’re falling when they’re just suspended by fishing line in front of a green screen. No. I mean… I wanted people to be able to know what it would be like to be sitting around a grand marble war table in a castle high above the town, elbow to elbow with the other five highlords or ladies of the realm, negotiating title, land and birthright. I didn’t, actually, want it to be a game. I wanted it to be an experience.

Games have very concrete mechanics. These mechanics make a really good game feel like an amazing puzzle. They’re a toothbrush for the brain! But when a player gets lost in an experience, and becomes the game, without even noticing… that’s the real magic. The best magic trick is the magic trick that is real.

In Cutthroat Kingdoms, I designed a way for players to interact with one another freely, and openly. In a normal game, you have very clear rules on what you can, and cannot do. In Cutthroat Kingdoms, you make the rules. A lot of people thought I was crazy.

“Nobody will know what to do!”

“If I can do anything I want, won’t it just be complete chaos?”

“That’s not a game, that’s life.”

The last statement was music to my ears. The actual mechanics of the game pull players (slowly at first) into their roles as lord or lady of a highborn family. You’re deploying soldiers to territories, purchasing mercenaries from the market, or trying to avoid the plague. But, ever so slowly… the game begins to take on a very different feeling.

The very first time a player wants to pass through a neighbors lands to acquire new territory, they must ask the intervening player permission. This simple mechanic isn’t even really a mechanic. You’re literally asking them…

“Hey, can I do a thing?”

In that moment, the game, and therefore the immersion, begins. The neighbor may not like this person. In fact, the neighbor being asked may want that territory for themselves. Maybe she is appalled that this player would move through her lands only to take possession of an area that brings in a substantial amount of revenue. Could you imagine him doing this without even giving her a smile or a gift? So the neighbor answers:

“Why do you want to pass through my lands? What’s your intention?”

The player stops. This gets complicated. Does he tell her the truth? That he secretly wants to wedge her out on both sides and force her to have to deal with him every time she wants to move? Of course he couldn’t say that, she would know he had dark intentions.

“I want to share in the profit of your neighboring territory.”



“Okay, well, what’s your idea of sharing?”

That’s when he’s forced to acquiesce. He needs to do something for her, so he doesn’t burn a bridge. If he acts on his initial plan to wedge her out, he may lose a potential political partner later in the game. What if he needs her to form a wall against his right flank in case another house comes storming in on him? She could be useful. Besides, if she says no, his only option is to go to war with her, and the cost of that war would be not in his economic interest.

“If you let me pass through your lands,” he says, “I’ll give you half of what I make on Corynthia.”

She smiles, sticks out her hand.

“It’s a deal.”

And that, ladies and gentlemen, is Cutthroat Kingdoms. Above is an actual moment of gameplay. It’s not a game, it’s an experience, and it’s certainly something you can get lost inside for a very, very long time. To be completely immersed inside an experience requires a certain level of freedom, freedom for a player to actually become the game itself, to become the characters, the coins, the meeples, the little wooden cubes. When your own words, the deals you craft, the lies (or truth) you tell, when all of that matters in the context of the game, you’re living inside it, not playing it. I wanted to get lost like I did when I was a kid, to see the woods in a whole different light. And in Cutthroat Kingdoms, I can. The stones turn into runes for me now. And I wouldn’t have it any other way.

– Bryan Merlonghi, Designer of Cutthroat Kingdoms

Cutthroat Kingdoms Designer Diary #1 Not Everyone Is Going to Like Your Game (and that’s okay)

There is, without a doubt, nothing more unnerving to a budding game designer, then a gamer who doesn’t like your game. Your beautiful creation sits on the table, shining in the pristine newness of its inception. Around you is the hum and bustle of a full convention hall, happy people walking up and down aisles, laughing, throwing cards on tables, pointing fingers at cool toys on vendor shelves… and there’s you, the budding game designer, with a beautiful new child on the table, a nifty sign to draw in potential fans, and the feeling (in your gut) that you’ve done something incredible.

That’s when she walks over to your table. The very first potential gamer willing to try your new prototype. That very first cherub face that took a remote interest in your sign. To you, new designer, that first look was total recognition of a perfect masterpiece. But in actuality they may have just sneezed, and their rolling eye just happened to swing in your direction post sniffle.

It is here, that my story begins:

I cannot tell you how many times a person would walk up to my table at UnPub in San Jose, California.

Actually, I can. It was 352 times. Secretly I had a little silver number counter that I flicked every time someone passed my table a.) because I was excited to tell a potential publisher just how many people were interested in my game, and b.) (truthfully) I was a complete nervous wreck and needed the fidget spinner of my generation to keep from running out of the convention hall screaming like a crazy person.

352 people came up to, or passed, my table. How many of those 352 people actually liked my game?


I’m kidding. But what happened was that whenever a person passed my table, initially, I would yell:


And they’d look at me and probably wonder why I’m shouting at them, they were just going to get a Coke Zero.

In my mind, getting as many people to the table to play your game was the prime directive. And my logic followed that the more people that sat at my table, and therefore played my game, the more interest I would get, the more fans I would get, and the more successful I would become. And then, if you will, travel with me here… that’s when I could buy my yacht and sail to the private island located in a beautiful part of the Pacific Ocean that I purchased off my first game royalty check.

Here’s the important lesson I learned. The more people who sit at your table, who are interested in playing the exact game you created, the more successful you will be. Now that sounds obvious, but it involves a critical lesson that I learned the hard way: you need to be okay with turning players away from your game.

Initially when I pitched Cutthroat Kingdoms to a potential playtester, I would tell them anything and everything they wanted to hear:

“Do you like worker placement?” I would ask.


“This is worker placement–”

“–but my favorite genre is really pip manipulation dice games,” they continued.

“Ah! Cutthroat has a lot of that!”

The person looked down, noticed there wasn’t a single die on the table, and looked back at me relatively perplexed.

Eventually I understood the importance to pitch the game exactly as it was. That it was a card game, had area control, negotiation, deal-making, hand-building, political relationships and that it would take a minimum of 90 minutes to play. And you know what? That turned away a LOT of that 352 people.

At first it really freaked me out. For every person who walked away, I was scolding myself that it could have been a potential fan, that I was doing something wrong, that I had built a terrible game. That was completely not the case. For every person I turned away, with the truth (mind you), I was not only respecting that player’s time, but also preventing a potential bad experience, and therefore a potential bad review of my game! Imagine a player who abhors negotiation getting hoodwinked into playing a 90 minute negotiation game. They would be furious, probably have a bad experience, and would have nothing nice to say about your game.

Of that initial 352, I narrowed my selection down to a good, solid, 50 people. And those 50 people had the time of their lives! Cutthroat Kingdoms was exactly what they were looking for all these years.

I told a passerby exactly how the game would play, what to expect, what not to expect, and how long it would take (really). The ones who stayed quickly became my major advocates, the ones who later paved the way and evangelized the game to other gamers that were very much looking for this type of game. It was absolute magic to watch it happen.

The major lesson here is that you shouldn’t have 352 people playing your game, you should have a quarter of that, and they should be exactly the type of people who would love the type of game you made. Even if they don’t love it, they will thank you that you respected their preferences, and most importantly, their time.

– Bryan Merlonghi, Designer of Cutthroat Kingdoms

Thunderstone Quest Kickstarter: And You Thought Figuring Out The Dungeon Was A Puzzle?

A couple of work-in-progress updates for you.

Firstly a quick pic from China, where our production manager is working with our production partners to figure out the best way to put together the Champion reward level box. Coming up with something that will store nearly 2,000 sleeved cards and all of the other components in a way that is easy to use, is a challenging puzzle to solve! As you can see from the picture this box is a monster. At the moment this is just a white sample, and not all of the pieces are there (missing various trays etc.). You can also see the smaller box for the Adventurer level pledge.

You will also recall that we sent out the awesome graphic for the board a couple of weeks ago. We are still working on the final board layout, but we thought we would give a sneak peek of the work in progress. Those of you who watched John and Mark play through the print and play set might recall that we said some of the abilities available to the players would be on the board, and this would be a little more expansive than what we were showing you in the learn to play and print and play that we sent out.

As you can see, there are four locations that you can visit in the village. You generally have three actions available to you – buy a card (either a hero or marketplace card), heal a wound, and level up a hero. But the four locations add (or subtract) from those basic options. In the Guilds’ Quarter you can level up an additional hero. If you place your Champion (your miniature) in the Bazaar you can buy one of the three Gear tokens available in addition to a card. The Temple is very similar to the old Prepare action in Thunderstone Advance, in that you can use it to set yourself up for future turns, but in this case you can also heal and additional wound – it comes with a cost though, you lose the ability to level a hero and cannot use card effects that might also let you go to the Dungeon. Finally there is the Shop of Arcane Wonders, where you can buy Treasure cards (at a price of course).

As you see the Village Board is labeled where all the different card types will be placed. We recognize though that some players prefer a more free-form game. Thus, the back of the Village Board will have these labels removed. Players may use either side as they choose.

Thanks for continuing to support Thunderstone Quest!

— Mark Wootton, Project Lead

Thunderstone Quest Kickstarter: Pledge Manager Information

Attention Backers!

We are almost ready to begin using the Pledge Manager for Thunderstone Quest!

We have selected BackerKit as our platform provider for Pledge Management. BackerKit has powered thousands of successful campaigns and they have by far the best suite of tools that we reviewed while selecting a platform.

You will be able to add additional Champion Rewards to your order, add and manage Add-Ons, and we’ve made our best-selling Card Crafting Game Mystic Vale available as an Add-On as well (we’re testing the ability to offer other games in our catalog to Kickstarter backers)!

Late Pledges

We have received enormous interest in backing the campaign since it ended and we have decided to enable people to join the fun! Anyone who wants to make a late pledge will be able to do so through the BackerKit system, at this URL:

Late pledges will receive the same Rewards as those who backed during the campaign.


We have also been working to select a fulfillment system and we have been able to use the shipping rates and information we’ve been provided to calculate shipping costs for the Rewards and Add-Ons. As we noted in the campaign we are going to be charging as close to actual shipping costs as we can for each order. AEG is not making any profit on shipping & handling.

The Champion Reward is enormous.

These are images of production samples for the components. (They are obviously not the actual components, tokens & dice are just placeholders, etc.) Premium Box not shown.

We are estimating the weight of the Champion reward at 15lbs.

We significantly overshot our original weight estimates because of the addition of the Grand Finale Quest so we’re going to be at the high end of our estimated shipping costs (and over those estimates for some backers).

Backers in China (including Hong Kong), Australia, Canada, the UK, and the European Union (plus Lichtenstein, Norway and Switzerland) plus the United States will have their rewards delivered from a depot in those regions. We will handle the customs and taxes to ship from our factory into those depots. Most backers in those regions will receive their shipments without additional taxes or fees as a result. If for some reason there is some assessment made at the point of delivery it will be beyond our control and you will be responsible for payment.  Shipping costs for the Champion Reward for these depots will be:

  • US: $18
  • Canada: $25
  • Germany: $17
  • EU+: $27
  • UK: $28
  • Australia: $24
  • China: $22
  • Rest of world: ~$53-63

Backers outside the regions directly served by a depot will be shipped from the closest available depot. Most shipments in Asia will originate in China. New Zealand will be shipped from Australia. Shipments in Central and South America will originate either from the US or from Germany depending on the best available rates. Shipments to the rest of Europe, Africa, and the Middle East will be shipped from Germany. Backers outside the regions directly serviced by the depots may incur taxes and customs fees on receipt and you’ll be responsible for payment.

Shipping will be charged directly in the Pledge Manager.

Refund Policy

As noted in the campaign we offer a refund at any time for any reason. We will refund 92% of your pledge (the full amount less the Kickstarter fee and payment platform fee).

8 Week Time Window for Using the Pledge Manager

Once you receive your invitation to use the Pledge Manager you will have 8 weeks to log in, confirm your pledge, manage Add-ons, and pay for shipping.

After 8 weeks we may not be able to accommodate requests to make changes to your pledge and we will work with you as necessary to resolve any issues outstanding.

At the end of the 8 week window we will be finalizing our orders with our production facilities and we will not be able to make major changes to the number of units being produced without additional costs and delays. So please please please access the Pledge Manager within the next 8 weeks to ensure your order is updated and finalized!

Some backers will receive an invitation to the Pledge Manager in the next 48 hours. We’re going to issue invitations to about 10% of the backers and allow them time to use the platform to detect any problems or issues that we need to correct before we invite the rest of the backers to the platform. Everyone should have a Pledge Manager invitation by the end of the weekend.

If you have any questions or comments please email for fastest response! Messages left as comments on Kickstarter may not receive a response in a timely manner.

— The AEG Thunderstone Team

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