Copyright strike issued

Earlier tonight, I received a copyright strike and had a video taken down from Youtube. The video in question was the Starcade episode I put together from Anime Apocalypse 2016. The company that issued the strike was JM Productions, the original producers of Starcade. As they’ve recently reached a deal with Shout Factory, it should come as no surprise that this happened, and as I more or less used every possible asset that there is to use in the making of the video, I have no argument against what JM Productions are certainly well within their rights to do. The video is gone, the one that we filmed at Anime Milwaukee 2017 will not be edited or uploaded, and the game is now officially retired from my lineup.

Under no circumstances are any of you to contact them to complain. If further trouble comes from this, and one of you is responsible for said trouble, consider yourself no longer a fan of Greggo’s Game Shows.

Stepping on my soapbox for a minute, let me say this to everyone who does what I do. The more accurate you make your game show programming, the closer you get to having this done to you as well. Fortunately for me, the company that issued the strike was one where I only had one infringing video. If it had been literally any other company, I’d have gotten enough copyright strikes to wipe my channel from the face of the earth. It could happen to any of us, and no amount of hand-wringing changes the fact that we don’t own these shows or any of the assets we use.

I know those of you who are game show “purists” won’t like to hear this, but there may come a time where in order to make fun stuff like the things I make and make them available to a worldwide audience, they may have to be complete parodies with different names, different assets, different music. They won’t be exactly like the shows you love. And I know for some of you, that will be an instant turn-off. At the end of the day, though, we don’t have the right to use any of the things we do. Never have, never will. And all it takes is for the company that DOES own those rights to exercise them, and that’s it for us.



Fact Sheet: Wipeout

Wipeout will make its debut at Tsubasacon 2017 (making this the second consecutive Tsubasa where a new game show debuted). Yet another take on the “trivia game with a twist,” Wipeout’s twist is that the three contestants are shown all the correct answers to a question before it’s asked! They are also shown some incorrect answers, however…and choosing one of those wipes out the player’s score! It’s a game of strategy, knowing when to play, when to pass and when to take a risk to set your opponents up for failure!

As the game has yet to debut, here’s a sample episode of the UK version. The version I’ll be doing will be similar to this one, only the stakes will be higher with each successive answer (100 yen for the first one, 200 for second, up to 1100 yen for the final correct answer):

(Thanks to GGS fan UzumakiPavel for uploading this video!)


This game requires 90 minutes including setup time.  It requires the use of a projector and screen (VGA/HDMI and minijack).  A minimum of two microphones (four is preferred) is requested. Recommended stage layout includes one long table at stage right for the contestants and a lectern and additional small table for the host if available. There are a total of four onstage participants including the contestants and host.

Preferred title for the schedule:

Greggo’s Game Shows: Wipeout

Program book description:

Greggo presents his newest trivia game, Wipeout! It’s the game that’s so easy, we give you all the answers! Not all of them are the CORRECT answers, though…you have to find the right ones to earn prize money! Find the wrong one…and your score is wiped out! Make it through to the end and you face our challenging bonus game which can really pay off! Contestants will be chosen at the beginning so make sure you’re there!

Prize support:

A maximum of $100 worth of prizes; badges to other (or you own) conventions can be acquired to give away as prizes. While this can sometimes be supplemented by my own prize support, it is recommended that the convention supplies prizes whenever possible. It is acceptable to offer gift certificates equal to the “cash value” won by the contestants in this game. Gift certificates may be requisitioned and acquired by the convention after the end of the event and sent to the winners.

Convention crunch: Pointless surveys!

Hi everyone! Thanks for taking the time to check out my most recent batch of Pointless Pokémon surveys! I have no more conventions before the next playing of the game at Tsubasacon, and I need to get as many of these to 100 people surveyed as possible in order to have a good game.

Each survey takes 100 seconds and can be accessed by the following links:

Thanks so much for your help!

Policy update regarding nonphysical prizes

Hi everyone!

Recently there have been some clerical errors that have led to delays in prize awards. I’ll blame those errors on myself for not expressing a more clearly-defined policy on “nonphysical” prize awards such as convention badges or streaming account prizes. I’ll be clarifying that policy today here, and will make note prior to any contestant-selection process what the exact prize award policy is.

Effective today, only the contestant who wins the prize may utilize it. Any convention badge or streaming account (or other nonphysical prize that may be awarded in future) will be considered non-transferable, and the contestant’s information will be collected immediately after the show where the prize was won.

Due to this policy, potential contestants are discouraged from participating in any game show where the grand prize is something they will not be able to utilize. For example: the grand prize of Pokémon Game Show is a free admission to the next year’s con. If you already receive free admission to the convention by other means (staff, panelist, guest, et cetera) you will be asked not to participate in the game so that only those that can utilize the prize will be able to play for it.  Also for example: Stop the Music! awards a Crunchyroll subscription to the winner. In order to participate, you must personally accept the award for your own account (creating one if you don’t already have one), and will be asked to provide your email address and/or Crunchyroll ID immediately following the show.

Hopefully this new policy will allow for much less delay in the awarding of prizes and will cause less confusion in future.

Thanks for reading!

September update!

Just got home from a very successful San Japan! As promised, here is my monthly report to inform you guys on how things are looking for 2018:

CONVENTION INCOME:  46% of required income reached from 2018 bookings (an increase of 6% due to three new bookings)
PATREON: 113% of required income reached provided current patronage stays the same (an increase of 2% due to a new Patron)
TABLE PREDICTIONS: 82% of required income projected based on a full year’s worth of table sales (no adjustment)
MISCELLANEOUS: 20% of required income based on projected Youtube earnings for 2018 (no adjustment)

I’ve added three more conventions in the last month or so, which adds about 6% to the number. I’m now almost halfway to the make-or-break here. I also got a new Patreon patreon from San Japan (thank you!) that adds a tick more income there.

I still have a long way to go, but I haven’t confirmed many conventions that I’m expecting invitations to.

I am going to try to get Celebrity Family Feud up this week before heading to Evansville, Indiana for Tri-Con this weekend. Hope to see you there!


2018: A crossroads

Hi everyone!

There hasn’t been a lot of new stuff going on lately, mainly due to conventions and an increased workload from my part-time job. Over the course of the last few weeks, however, I’ve been able to think about where things are and in what direction they’re going. Have a seat, we’re going to talk some numbers.

In 2015 I hosted game shows at 30 conventions, an all-time high. I was able to attend conventions I hadn’t seen in a while, including Naka-Kon in Kansas City and Anime Weekend Atlanta. All of this while moving from southern New Jersey to Charlotte. It was a busy year, but quite a successful one.

In 2016 the number of conventions dipped a little bit, from 30 to 27. Some date conflicts made me unavailable for conventions I’d done where I’d had some success, but I picked up some new shows in places I’d either never been or that I hadn’t been in some time.

In 2017, I’ve only been booked at 21 shows. Several of the 2016 conventions I attended folded, and some conventions I was unable to attend in 2016 decided to go in a different direction this year, leaving me with no bookings those weekends.

I’ve had to take a part-time job again to ensure I have enough income to make things work, and I’ve taken on a manager to try to get more bookings. Thanks to Chris I was able to do my first Wizard World; if I did well enough there to be considered for further of their shows, that will be a big plus. I’ve also signed a multi-convention deal that will take me back to the Midwest for several shows (including three in or near Chicago). But the writing is definitely on the wall based on my projected income for 2017.

In 2018, if I’m unable to achieve a certain amount of total income from my four main sources (convention bookings, table sales, Patreon and miscellaneous contributions from software licensing, Youtube and otherwise), it will be my final year hosting game shows for conventions, and I will go back to working a regular 9-to-5.

I plan on giving you a monthly report beginning today to let you know how things are going. I won’t divulge the actual numbers, but I’ll let you know the percentages. Obviously, until 2018 begins I can only give you projections, but here are the projections based on invitations that are either solid or conventions I know I’ll see an invitation (Tsubasacon, for example).

CONVENTION INCOME:  40% of required income reached from 2018 bookings
PATREON: 111% of required income reached provided current patronage stays the same
TABLE PREDICTIONS: 82% of required income projected based on a full year’s worth of table sales
MISCELLANEOUS: 20% of required income based on projected Youtube earnings for 2018

As of right now I’ve committed to ten 2018 conventions, and the income from those cons should make up 40% of what I will need in order to continue. Therefore, the target number of conventions for 2018 is 25. If I can get that many confirmed by the start of the year, everything should be fine. It will require invitations from a few conventions I did not hear from this year, and I’ll definitely need to replace some of the income I’ll lose due to multiple conventions being on the same weekend next year (Zenkaikon and Anime St. Louis, for example).

This post should not be a deterrent for any convention that is interested in having me as a guest for 2018. I am fully committed to work any con that wants to bring me in. If you are a convention runner that is considering bringing me out, the sooner we can get that locked in, the sooner I’ll be able to determine whether or not 2018 will be my final year. If you are interested in helping me out through other means, there are several ways to do so.

I hope this post doesn’t come off as desperation or doom and gloom. If I can turn around the bookings so that I have a much busier schedule, everything should be fine and you can look forward to much more from me. Realistically speaking, though, I have to make sure I’m solvent, so things get much more serious now and going forward.

Thanks for reading! I’ll be at Otakon next weekend as an attendee. If you see me, make sure to say hello!