How to organise a ticketed board-game designer showcase

You've found ten designers with games they'd love people to try. They're keen, the prototypes look interesting, and a local venue has space. Now comes the harder question. What exactly will a visitor get for the price of admission?

A ticketed board-game designer showcase works when you curate games that can deliver a good short demonstration, arrange enough suitable places for each visitor, and pay for the staff who keep those sessions moving. Start with that visitor experience before you sell designer tables or announce a room full of prototypes. An unfinished game can be fascinating. An afternoon spent waiting for somebody to explain one is much harder to sell again.

For a first edition, I'd choose a small, scheduled showcase with a clearly described audience and a limited number of demonstrations per visitor. Keep long development playtests and publisher meetings outside those sessions. The following plan explains how to select the games, agree what designers provide, schedule the demonstrations and work out whether the event can cover its costs.

Decide what visitors are paying to do

A designer showcase gives visitors a chance to discover games in development and meet the people making them. That can be a worthwhile paid experience, especially when a host helps them choose and the designers teach well. But you need to explain how much playing is included. Walking past prototype boxes, playing a short demonstration and testing an entire game are different afternoons.

Choose the main experience before recruiting exhibitors. You might offer short introductions to several games, with enough play to understand their central decisions. You might instead recruit experienced testers for extended sessions where a designer needs detailed development feedback. Both have value. They attract different people and require different commitments from the organizer.

There's a useful distinction in Unpub's description of its event formats. Designers can use reserved or open playtesting blocks, while playtesters generally participate without paying, apart from an optional preregistration fee at its festival. That describes Unpub's model, rather than a rule for your event. It does mean you should explain the extra service visitors receive if you charge for a curated afternoon.

Give that service a practical description. Perhaps visitors receive three scheduled, taught demonstrations chosen from a published programme, help finding a suitable game, and time to speak with designers. Explain that the games are prototypes and may change. Don't imply that visitors receive finished copies, exclusive products or a complete playthrough unless those things are actually included.

Our guide to a paid tabletop gaming weekend covers a broader event built around time to play. A showcase needs a narrower promise. People should leave having tried the games they came for, rather than having rented a chair in a room where something interesting might happen.

Choose an audience you can programme for

The first thing you want to do is find out who would pay to attend locally. Talk to game shops, clubs and people who have bought tickets to similar hobby events. Ask what they enjoyed, how long they were happy to spend learning, and whether they wanted light games, demanding strategy games or family play. Someone volunteering to test a friend's game isn't automatically a customer for your showcase.

Pick an audience that your first lineup can serve consistently. A programme for adults who enjoy approachable strategy games can still contain varied themes and mechanics. It doesn't need a children's activity, a long campaign game and a specialist industry pitch to look complete. Every additional audience creates more work in the timetable and the sales description.

For the example throughout this guide, imagine a fictional organizer called Cedar Table Events. It's planning a one-day showcase for adults who are curious about independent board games. Visitors book either a morning or afternoon session. Each receives three scheduled short demonstrations, with allocation confirmed before attendance. There is no open gaming library, competition or promise of meeting a publisher.

These choices make the offer easier to test. Cedar can show prospective buyers sample descriptions and ask which games they'd choose, whether the time suits them and what would prevent a purchase. Use the answers to improve the programme. Don't count expressions of interest as paid bookings or assume that everyone following a designer lives within travelling distance.

Check the alternatives people already have. A free club night may offer excellent games and friendly teachers. Your event needs a reason for someone to buy a ticket anyway. Curating unfamiliar designs, arranging their sessions and introducing them to the creators could be that reason. Write the offer around those things, then check whether you can afford to deliver them at a price people will accept.

Select games that can deliver a good demonstration

A promising full game doesn't always make a good showcase demonstration. Ask each designer to show you the version they'll actually bring and teach a session as if you were a visitor. Time the explanation, the play and the return to a starting position. Watch whether a newcomer gets to make meaningful decisions before the session ends.

A shortened demonstration can work well if the designer builds it deliberately. They might start with an established board position, remove an introductory round or demonstrate one part of a longer game. They need to explain what's shortened. Visitors shouldn't discover halfway through that their booked session only covers setup and that the interesting part would require another afternoon.

Ask for the information you'll use to select and schedule the game:

• The name, development stage and version being demonstrated.

• The number of visitor places and the minimum needed to run.

• Teaching, playing and reset times tested with unfamiliar players.

• Reading, language, handling and other participation requirements.

• Table space, equipment, staffing and any power needs.

• Themes, age guidance and what the visitor will actually do.

Review those answers together. A game may need only a small board but a lot of space for personal player areas. Another may fit the session length only when everyone already knows the rules. A designer's estimate is useful, but the rehearsal is where you find out whether your proposed audience can enjoy the format you're selling.

Make acceptance conditional on a workable demonstration, rather than the quality of the artwork alone. A plain prototype with readable cards and a patient teacher may suit your audience better than a beautiful game nobody can learn in time. Tell designers what needs changing and when you'll retest it. If the game cannot fit, offer a future opportunity instead of squeezing it into a slot that will disappoint both sides.

Agree what the designer's fee includes

A designer paying to exhibit needs a clear offer too. Specify the table, furniture, session hours, staff passes, listing and promotion you provide. Explain whether they keep the same table all day and whether an assistant is included. Agree who supplies the game copies, teaching materials, signs and anything needed to reset between groups.

Be careful about the results you sell. You can agree to provide scheduled visitor opportunities and a feedback process. You can't make people like a game or promise a publishing contract. If you publish an expected audience, explain the basis and avoid presenting a target as confirmed attendance. Designers will make spending decisions using the information you give them.

Keep publisher introductions separate. UK Games Expo's publisher and designer programme lists playtest tables alongside distinct, application-based pitching activities. That's a helpful example of different purposes needing different arrangements. An invited publisher dropping into your showcase doesn't turn every table into a booked business meeting.

Put the practical terms in writing before taking the fee. Include arrival and setup times, the approved game, staffing obligations, conduct, cancellation, damage reporting and what happens if the designer cannot attend. Confirm any permission to use images of the prototype in promotion. Have the agreement checked for the event and jurisdiction rather than copying terms from a much larger convention.

I'd also agree a final version deadline. Ordinary refinements are part of game development, but replacing a short, accessible game with a much longer design changes the visitor offer. Require approval for changes that affect duration, player count, themes or participation. Keep one current game description so your programme, allocation records and table signs all describe the same session.

Before accepting the designer's payment, send a brief they can check against their own costs. A useful draft for Cedar would read as follows. "Your package includes one demonstration table, chairs for the approved session, two named designer staff passes and a game listing. You will teach three morning and three afternoon demonstrations using the version we approved. Bring a complete playable copy, reset materials and enough teaching cover for both sessions. Tell us before accepting if either named person cannot attend."

Follow that with the details that vary by event. State the actual table dimensions, access times, storage arrangements, included services and full payable amount. Explain how the designer confirms readiness and who approves a substitute teacher. If they want a third person, require agreement before the event, including the cost and effect on occupancy. Don't leave extra helpers as an informal exception at the door.

Ask for an acknowledgement of the final brief, and keep it with the accepted application. Our exhibitor onboarding checklist explains the wider process. For this showcase, the important confirmation is that the designer has understood the teaching commitment. Paying for a table and being able to staff six demonstrations are separate things you need to verify.

Build the room around playing, teaching and moving

Take a representative prototype to the venue visit. Lay it out on the actual size of table, then add the designer, any assistant and the visitor chairs. Check whether people can read the cards, hear the explanation and move around an occupied table. A photograph of an empty room won't tell you how the event will feel once everybody is seated.

Ask the venue and appropriate advisers to confirm the permitted layout and occupancy, including exits, circulation, furniture, workers and other uses of the building. Great Britain's HSE includes these considerations in its venue and site design guidance. Use the requirements that apply where your event takes place. Counting player chairs is an operating exercise within the approved limits, never a method for deciding safe capacity.

Cedar's fictional layout has ten demonstration tables. Each has four visitor places in addition to its designer and assistant. The selected demonstration versions each work with three or four visitors. That gives forty possible visitor places in a round. Cedar chooses to admit thirty-two paying visitors per session, leaving eight demonstration places unallocated initially. This is a delivery allowance for the example, not a recommended safety margin.

The team separately assumes that a competent review has approved eighty people in that particular room and layout. Thirty-two visitors, twenty designer personnel, six event workers and four invited observers who will not join demonstrations would make sixty-two occupants. That arithmetic checks the example against its assumed room limit. It doesn't establish the limit, and any wider building restrictions still apply.

Confirm how access needs affect actual participation. Check approaches to tables, reach, seating, lighting, readable materials and the ability to hear teaching. Ask what helps someone take part without demanding a medical history. Publish the arrangements you have confirmed and a contact for questions. If certain games require rapid colour recognition or extensive reading, describe that before someone chooses them.

Count sessions as well as admissions

A visitor ticket and a place at a particular game are different commitments. Cedar's thirty-two morning visitors each need three suitable demonstrations. That's ninety-six visitor bookings in the morning, spread across three rounds. Across two equally sized sessions, sixty-four paying visitors need one hundred and ninety-two demonstration bookings altogether.

The ten tables could theoretically offer four places in each of six daily rounds, giving two hundred and forty demonstration places. The difference is forty-eight places across the day, or eight in each round. Those places provide room to adjust allocations. They aren't automatically usable for every request. An available chair at a reading-heavy game won't solve a language mismatch elsewhere.

Create an allocation record with a row for each visitor and a column for each round. Track the game, table and confirmed place. Check that no game exceeds its tested visitor count, no visitor has overlapping sessions and every game has its minimum players. Review the actual combination of requests before confirming someone's three choices.

If buyers choose preferences after admission, explain that process and what you guarantee. For the pilot, I'd confirm three compatible sessions before treating an allocation as complete, with an agreed remedy if you can't provide them. Alternatively, let buyers select available sessions before payment through a process you've tested. Don't promise that buying admission secures a favourite game unless it does.

Keep all sales channels in the same count. Complimentary visitors, replacement tickets and extra places offered by designers can use the sessions you thought were spare. A late ticket sale needs both admission capacity and three workable bookings. Stop sales when either runs out, even if there are chairs elsewhere in the hall or money left in your advertising budget.

Test the timetable with the real games

Cedar's morning session runs from 10:00 until 12:30. It begins with a fifteen-minute welcome and explanation of the allocation cards. Demonstrations start at 10:15, 11:00 and 11:45. Each runs for thirty-five minutes, with ten minutes between rounds for moving, resetting and dealing with small delays. The last demonstration finishes at 12:20, leaving ten minutes to close and leave.

Within each demonstration, Cedar tests an eight-minute explanation, twenty-two minutes of play and five minutes of feedback. Those are fictional design choices for its selected games. They aren't a standard for board-game demonstrations. A game that cannot deliver an enjoyable sample inside that structure needs a different version, a different session or a different event.

The afternoon repeats the format from 14:00 until 16:30. The gap between sessions gives designers a proper meal break, room for a repair and time to prepare for the next group. It also lets the team clear the first audience before admitting the second. Check venue access around setup and packdown, rather than paying only for the public opening hours.

Rehearse the whole sequence once allocations are realistic. Ask unfamiliar players to find tables, listen to teaching and move at the changeover. Test the slower explanation as well as the smooth one. Decide what a host does when time expires before a game reaches its planned stopping point. Visitors need a satisfying ending, even when that ending is a demonstration summary rather than a winner.

Use a shared event run of show for the operational timetable. Include who gives the time signal, who handles a missing teacher and who can change a session. A designer shouldn't have to leave their visitors to find the organizer because nobody knows whether the next round is starting.

Give visitors an allocation they can use

Cedar could send each visitor a simple confirmation showing the session date, arrival time and three round allocations. For each round, include the start and finish, table number, game name and any preparation required. Use the same table numbers on signs in the room. A visitor shouldn't need to recognise a designer's face or remember a prototype illustration to find their seat.

Have someone check the record with an unfamiliar reader. Can they tell whether the ticket covers the morning or afternoon? Is a group booking clear about which person has which allocation? If one friend wants to change a game, explain how to request that without changing everybody else's place. Keep one current record and tell the visitor when a revised confirmation replaces an earlier one.

At arrival, check admission first and then help with allocations. The event QR ticket establishes entry through your ticketing process; the allocation tells the visitor where to play. Loopyah supports phone-based QR check-in with restricted access for door staff. Brief a separate host to answer programme questions so a conversation about game preferences doesn't hold up everybody waiting behind it.

Keep the eight spare demonstration places per round under the floor lead's control initially. A designer may see an empty chair and invite a friend over, without knowing that the team needs it for a visitor whose earlier allocation has failed. Tell designers when they can fill an unallocated place and require them to confirm with the host first. The spare places only help if the team knows what's still available.

Price the visitor offer using retained income

Start with quotes for the event you're actually producing. Include setup access, furniture, event staff, marketing, insurance, administration and organizer work. Designers may supply their own teaching, but that doesn't replace the person solving allocation problems or covering the entrance. Unpaid organizer time also needs a value if you intend to repeat the event as a business.

Here's Cedar's fictional budget in USD. None of these amounts is a supplier quote, an industry average or a Loopyah price. To keep the example readable, assume no sales tax is due; replace that assumption with your actual tax treatment. Retained amounts below already allow for the hypothetical selling and payment charges stated in the example.

Cedar allows $750 for the venue, $300 for furniture, $900 for event staffing and organizer work, $250 for marketing, $200 for insurance and administration, $150 for signs and materials, and a $250 reserve. That's $2,800 of fixed costs, including the reserve. Keeping the reserve in the forecast avoids needing every ordinary extra to come out of the expected profit.

Each of ten designers pays $85. Cedar retains $80 after hypothetical selling charges and spends another $10 per designer on supplies for the two included staff passes. Refreshments for the four observers are covered in the sponsor delivery allowance below. Each table therefore contributes $70, or $700 altogether. A confirmed sponsor pays $500, with $100 of promised delivery costs, leaving another $400. These figures assume all ten designer payments and the sponsor commitment are secured.

That leaves $1,700 for visitor tickets to cover. Cedar charges $36 per visitor, retains $33 after hypothetical selling charges, then spends $3 per visitor on materials and other attendance costs. Each visitor contributes $30 toward the remaining fixed costs. At fifty-six visitors the event loses $20. At fifty-seven it makes $10. Selling all sixty-four planned visitor tickets produces a $220 surplus.

Check whether the pilot has enough room for disappointment

A sellout producing $220 leaves little room for this fictional event to go wrong. It has only seven visitor sales between the first profitable whole-ticket outcome and full planned admissions. That doesn't make the event impossible, but it means Cedar should improve the plan before treating it as a dependable source of income.

At forty-eight visitors, ticket contribution is $1,440. Add $700 from designers and $400 from the sponsor, then subtract $2,800 of fixed costs. Cedar loses $260. Without the sponsor, even all sixty-four visitor tickets leave a $180 loss. A hoped-for sponsor therefore cannot quietly appear in the base forecast as though the agreement were signed.

Check the complete sellout calculation another way. Visitor receipts retained after selling charges are $2,112. Designer receipts retained are $800, and sponsor receipts are $500, making $3,412. Costs are $2,800 fixed, $192 for visitors, $100 for designers and $100 for sponsor delivery, totalling $3,192. The difference is the same $220. This catches the common mistake of subtracting an attendance cost twice or forgetting it entirely.

Use our event budget guide for the wider forecast and cash timings. Cedar could negotiate a lower fixed cost, charge more for a stronger offer or secure additional confirmed income. Increasing admissions only works after proving that the games, staffing and approved space can support the extra people. Dividing a disappointing budget by more chairs doesn't create demand or a better afternoon.

Test discounts using the money they remove. If ten visitors pay $5 less and retained income falls by the same amount, the sellout surplus drops to $170. If an extra $200 production cost also appears, the result becomes a $30 loss. Compare that combined outcome before launching a promotion. A busier room isn't much comfort when every additional obligation costs more than the event earns.

Set a sales decision before the next expensive commitment

Work backwards from the date at which another substantial payment becomes unavoidable. Record paid visitor sales, collected designer fees, confirmed sponsor money and what you would lose if you stopped. Ask whether the remaining sales target is plausible using the audience you can still reach. Work out both what cancellation would cost today and what continuing is likely to cost. Money already committed may still be payable if you cancel, while continuing brings further obligations.

For example, Cedar might owe venue and supplier balances before the public programme is final. Check actual payment dates and refund terms with each supplier. Ticket income may also reach your account later than the purchase. Build a cash schedule showing when money arrives and when it leaves, even if the final budget appears profitable.

Give designers a decision date too. They need time to arrange travel, prepare prototypes and decide whether to participate. Explain the minimum event conditions and what happens to their fee if the showcase doesn't proceed. Don't keep accepting their work while privately waiting to see whether enough visitors will buy tickets.

A smaller event could be a sensible fallback only if you can still deliver what existing buyers purchased. Fewer tables may reduce game choice or remove the sessions people booked. Price any revised offer before announcing it, check the applicable obligations and let affected buyers understand their options. An operational change doesn't become harmless because you describe the event as a pilot.

Write an event page that makes the purchase clear

Lead with what the visitor will do and who the games suit. Name the session hours, the number of demonstrations included and how game allocations work. State the age policy, language and experience assumptions. Explain whether groups can request to stay together, when allocations become final and what happens if a preferred game fills.

Show the confirmed games with useful descriptions. A buyer needs the theme, the kind of decisions they'll make, the amount of reading and the demonstration length. Explain that prototypes may have temporary artwork or components. Avoid relying on hobby terminology to communicate complexity. Someone can enjoy games without knowing the categories designers use to discuss them.

Cedar could describe its offer as an adult prototype showcase with three scheduled, taught demonstrations during a morning or afternoon session. The description should then explain the preference process and confirmation deadline. Say plainly that a full playthrough, take-home game and publisher meeting aren't included. That information belongs before purchase, rather than in a corrective email after the event sells out.

Loopyah's ticket selling tools let you set prices and quantities for ticket releases, and the purchase confirmation links buyers to their QR tickets. That keeps selling and arrival connected. You still need a tested process for the specific game allocations; an admission ticket alone doesn't establish which demonstration a visitor can join.

Test the purchase with someone who hasn't helped plan the event. Ask them to explain what they've bought, how they'll choose games and when they should arrive. Check the confirmation on a phone and rehearse the door lookup. Fix the uncertainty they find before spending more on promotion. Confusion about the offer can waste both advertising money and the time of people answering buyer questions.

Promote the experience with the designers

Ask each accepted designer for a short demonstration of the actual visitor experience. Show a decision someone makes, a readable part of the prototype and the person who will teach it. A complicated explanation of every rule is unlikely to help someone decide whether they want an afternoon at your event. Keep the fuller rules available for people who want them.

Agree the promotional work instead of assuming every designer will bring an audience. Specify what you'll announce, what they can share and when the programme becomes public. Give partners current descriptions, booking information and accurate images. A designer who attracts interest in one game shouldn't accidentally promise that every ticket holder will get a place at it.

Work with shops and clubs whose customers match the programme. Explain how the showcase complements their regular activities, and agree any payment or referral arrangement clearly. Ask what their members need to know before booking. They may reveal an obstacle, such as the session time or uncertainty about attending alone, that another round of artwork won't solve.

Use the questions you receive to improve the event page and your messages. With Loopyah's attendee email tools, you can build the update and send yourself a test before sending it to the audience. Check that the message explains the current allocation process and uses the correct session times. Don't make someone search several announcements to find the version that applies to their ticket.

Promote confirmed commitments. If a publisher hasn't agreed to participate, leave them out of the offer. If a designer has only expressed interest, don't show their game as booked. An honest smaller lineup is easier to deliver than a large announcement built on people who haven't accepted the terms or tested their demonstration.

Make feedback useful without turning visitors into unpaid staff

Visitors may enjoy helping improve a game, but they bought an experience. Keep the feedback request short enough to fit the session you sold. Ask designers to choose the decision they need help understanding. A question about where someone became confused is more useful than a long questionnaire that tries to redesign the entire product.

Cedar's five-minute feedback period might ask what the player thought they were trying to achieve, where they hesitated and what they'd want to try next. Tell visitors that criticism should address the game and their experience. Designers need to hear the answer without arguing every point or pressuring someone to praise the prototype in front of strangers.

Offer a private way to comment if the event can manage it properly. Make the game and version identifiable so feedback reaches the right designer. Distinguish a visitor's preference from a fault in the instructions. A person who dislikes negotiation games hasn't necessarily found a broken design, while several people misunderstanding the same rule gives the designer a specific problem to investigate.

Don't require contact details merely to submit a useful comment. The UK's ICO explains the need to collect information appropriate to the purpose in its data minimisation guidance. The page is under review following legislative changes, so check current requirements where they apply. For your process, decide what you need, who can see it and when it will be deleted.

Keep follow-up marketing separate from game feedback. If someone wants updates from a designer, explain whose list they're joining and how their details will be used, with the permissions required locally. Buying your event ticket shouldn't silently subscribe them to every exhibitor. Designers can receive useful anonymous observations without receiving your entire visitor database.

Brief the team to handle delays and difficult moments

Name a floor lead who can change allocations and a person responsible for admissions. Give designers a way to contact the floor lead without leaving their table. Agree who takes over when someone needs a break and what happens if an assistant doesn't arrive. Don't plan around a worker being at the door and solving a game problem elsewhere at the same time.

Write a simple response for late visitors. Check what they can still join, explain the missed session and offer only arrangements you can deliver. Don't restart a demonstration for an entire table without considering the people who arrived on time. Apply the published late-arrival policy consistently, while considering the actual circumstances and obligations.

Prepare for missing or damaged prototypes. Stop allocating visitors to an unusable game, identify affected bookings and check suitable alternatives. If one of Cedar's four-place tables disappears, the remaining nine provide thirty-six theoretical visitor places per round. That's still above thirty-two admissions, but only a review of the actual allocations can show whether everyone's session requirements can be met.

If two tables disappear, thirty-two places remain per round with no spare places at all. That arithmetic doesn't prove the revised programme is acceptable. Losing particular games might remove the reason people bought tickets. Decide whether to change, reduce or cancel the offer using the promises made and the options buyers are entitled to receive.

Protect people and the work they're sharing

Publish a conduct policy with a discreet reporting route, and brief staff on who responds. Competitive play can produce disagreement, but insulting a visitor or dismissing a report shouldn't become part of the programme. Stop a session when necessary and make sure the affected person can speak to someone other than the designer involved.

Unpub's code of conduct addresses harassment, respectful play and ownership of prototypes. Use it as a relevant example of issues an event in this field needs to consider. Your own policy and agreements need to describe your event's arrangements, including what staff can do and where attendees report a concern.

Agree photography and recording expectations before opening. Some designers will welcome publicity; others may want to limit close photographs of unfinished components. Tell visitors the policy and give staff a practical way to explain it. Don't advertise a public demonstration as confidential unless you've arranged a process and terms that can support that claim.

Keep feedback permissions clear as well. A visitor suggesting a rule change shouldn't have to guess what happens to the suggestion. Designers shouldn't have to guess whether you've claimed rights to their game by accepting it into the showcase. Have appropriate terms prepared for your jurisdiction, and keep the event's practical explanation consistent with them.

If you allow game purchases or crowdfunding promotion, agree that separately before opening. Some prototypes won't be available to buy at all. Others may have a future release with uncertain dates. Make it clear who is selling, who takes payment and who answers a later delivery complaint. Avoid describing an expression of interest as an order, and don't let a sales conversation consume the time promised to the next group.

For Cedar's pilot, I'd keep sales outside the timed demonstrations and make any designer follow-up optional. Visitors should be able to enjoy the showcase without feeling obliged to back a project. If you later introduce a retail area, budget its staffing, payment arrangements and space on its own terms instead of assuming it can fit between occupied game tables.

Finish by checking what you actually delivered

Before visitors leave, make it easy to report a missed demonstration or unresolved problem. Record which session was affected and what the team offered. Deal with those issues while you still have the allocation records and staff available. A positive average rating doesn't settle an individual complaint about something someone paid for and didn't receive.

Check changes and refunds against the rules where you're operating. Australia's ACCC explains that organizer cancellations and major changes can create refund rights in its guidance on selling event tickets. That source describes Australian consumer rights; it isn't a universal refund policy. Get the terms right for your event before sales, then apply them to what actually happened.

Reconcile ticket receipts, designer income, sponsor delivery and final costs after packdown. Count refunds and the hours people really worked. Review how many visitors received all their scheduled demonstrations, which explanations overran and where replacements were needed. Ask designers whether the format produced useful conversations, while keeping their feedback separate from the visitors' assessment of the paid experience.

For Cedar, the next decision would depend on both delivery and the narrow budget. If the sessions worked but the pilot barely paid for the work, reduce costs or strengthen the paid offer before booking a bigger hall. Confirm the games, suitable visitor places and staff for the next edition, then calculate the sales it needs. Those are the commitments you need to be able to keep before opening ticket sales again.