A New World for Alchemy

I am happy to announce that New World Alchemy has just gotten it’s new logo, and I couldn’t wait to put it on the site.

The incredible art of Mariusz Siergiejew at Noistromo Studios in Poland has done us the honor of creating this stunning logo!

Of course this meant we needed to do a site redesign as well, so that slowed showing off the logo a bit. You’ve already noticed it at the top, but here is a sample of the various states you will see our new logo in:

More versions below
Read more

The Treasury – A Clever Solution to Bad Bits

Bad bits. We’ve all had them. I know for me the most recent, and most frustrating experience with a bad bit was only made worse by the fact that those bits belong to my current favorite board game. Oh, I suppose I should clarify what I mean by a bad bit. I’m talking about those pieces in a board game that either through poor design, quality, or some other fault negatively impact the fun of the game. In this case I’m talking about Temporum an incredibly clever, well designed game by Donald X. Everything about the game is incredible, including the currency that comes with the game, except it doesn’t have nearly enough of the lower denominations of the currency. As a result every turn you’re making change. This slows the game down, and gets in the way of the fun. What do you do in this situation? Well, after confirming that I can’t purchase extra pieces I got frustrated.

Then one morning I found out about a Kickstarter project that will solve this problem, and similar bad bit problems. I’m talking about The Treasury by Know Chance Games. The Treasury’s primary goal is to give players access to a high quality alternative to paper money. As the Kickstarter video points out paper money is never fun to handle, and it doesn’t last, or look good. The Treasury fixes that on several fronts by giving you access to one or more decks of card money. This means the money looks good, is game neutral, and can be sleeved. I’m really surprised other game companies haven’t tried to fill this need before, but I’m glad it’s about to be filled.

They Want To Like Your Game

It’s important to note that this isn’t an article about what to do when someone doesn’t like your game. It’s an article about getting honest feedback no matter what they think of your game.

I’ve talked a few times about play testers and the experience they bring to game design. However, I’ve only danced around one of the most important concepts in working with your testers. That is, for the most part, they really want to like your game. This is something that is true in film and stage. Anytime a person puts themselves out there for others the people receiving the performance, art, or medium, all things being equal, want to like it. It’s empathy. They know if they put that much of themselves out there that they’d want someone else to give them a fair shot, or maybe more than a fair shot.

That’s a good place to come from as makes it easier to get new people to test your games. However, it is very much a double edged sword because when it’s all said and done most people will have a hard time telling you the truth when the test is over. Let’s assume for a minute that they didn’t hate your game, odds are in favor they’ll like it more than that, so most people will honestly like or love your game. The problem is when you have people who would have liked it if something was a bit different, but they don’t want to bring the play test down with their honest feedback. They don’t want to “be that guy.” These are the play testers you need to watch for. I find it’s best to resist the urge for feedback mid game. It tends to hurt the flow, and can cause outcomes in the play style that would never happen in the wild. So you have to work from experience at spotting the people who are actively stuck on a point in the game’s design. Sometimes you will get it wrong. I know a few times I was certain someone wasn’t into one of my games, and at the end they couldn’t stop talking about how much they loved it. Still, with practice reading the body language of a gamer will tell you who needs coaching at getting honest feedback at the end of the play session more than not.

So once you’ve hit that point for feedback it’s still best to guide the players without leading them. Just because you think you know who will have more insights to share doesn’t mean you should push them to the front. Again, partly because you might have guessed wrong, and partly because that may make them shut up faster than anything. I find it’s best to give them open questions that make them feel safe. In the past I opened with “Did you have fun?” but that can put a person on edge if they didn’t have fun, or if they only had a little bit of fun. Instead, I assume the negative, and ask “what got in the way of the fun?” This tells them I’m OK with negative feedback, and I assume it will happen. Fortunately, the typical answer is “nothing.” However, sometimes that “nothing” is followed with a “but I’d like to see…” The best part is their thoughts are usually the kinds of things you need to know.

Having a great opener is nice, but you need to back it up with your body language, and follow up questions. You need to resist the urge to defend a point in the game’s design. It’s OK to clarify a design point, but remain open, and take their feedback into consideration. If they are the only person who has ever felt that way, then you’re probably OK. If they are the 3rd, 4th, or 5th person to mention it over time, it’s time to really take a close look at it. In general, it’s just a good idea to remove yourself from the equation, and be glad you have people who are putting your game through a gauntlet of testing.

Addictive Alchemy’s Logo

Three years ago I made my first board game in ages. It featured potions, alchemists, and zapping your friends while having a good time doing it.

This, is, not that game…

Addictive Alchemy

is the successor of that game, and I am happy to present the first look at the official logo for Addictive Alchemy.

VectoriaDesigns has once again outdone themselves with a gorgeous piece of art that also serves as the game’s logo.

The number one question people ask me is when will Addictive Alchemy be on Kickstarter? The answer is we are almost ready.

The second most common question people ask me is when will I bring back Aggressive Alchemy? I am happy to answer that I will resume the design of Addictive Alchemy’s predecessor in first quarter of 2015.

Prophecies: In the Shadow of the Titan Art Phases

The art of a game is incredibly important. I’ve seen quite a few great games get overlooked by the gaming community solely based on art choices that don’t work. Some games are good enough to overcome this, and even fix it in later printings. Other games aren’t as lucky. With all of my games I spend an incredible amount of time looking for the perfect artist for the job. I have been fortunate enough to have some amazing artists take interest in my projects, and I’ve ultimately had to go in another direction because their portfolio and style just don’t fit the game. I keep these great artists in mind for future projects, but in the end I always have to pick the right artist for the job.

The art of the game is incredibly important, and even though it’s not as important as the design, it should still look wonderful. With Prophecies: In the Shadow of the Titan I’m constantly amazed by how perfect the art is for the game. With that, I thought I’d share some works in progress of our ever noble, and incredibly lovely paladin. None of these are final, and they are only a small set of the paladin’s WIPs, but they should give you a sense of what to expect if we get a Prophecies art book.

This is a low res image compared to the final version, but it is larger than what you can see here, so please click the link to see it in greater detail:

It doesn’t matter if the game is balanced

Recently I’ve begun testing a new game that I’ve designed. The feedback has been so overwhelmingly positive that I’ve decided to fast track its production. That said, very early on its design I hit a rough spot with the scoring. You see each time I played it with four people one of those four would always make a comment like “I can’t win.” about half way through the game. This wasn’t always the case mind you, but the player honestly felt like they couldn’t win, so I would explain to them how they could win. As it turned out if they said that, then odds were in favor they weren’t going to win, but they still had a chance. At first this didn’t bother me a lot because the math said everything was balanced tightly, people still could come back from that position, and it was a short game running about 20 minutes. (The current version runs about 30 minutes.) However, as I continued to test it with people that comment seemed to pop up every single game. Eventually, I had to face facts 25% of my players weren’t having fun about half way through the game. It didn’t matter how much the math told them they were wrong, if they weren’t having fun, then the balance meant squat. I did eventually find an alternate scoring systems that did a good job of removing that feeling while making sure that the right amount of skill and luck determined the winner. I was able to keep the balance, and to be honest the game is a lot better for it.

As tough of a pill as it is to swallow, with game design, the final truth is what the players feel while they play the game is what truly matters. There are games that are fairly dull or uninspired, in my opinion, but if 90% of the people who play those games are having fun, then that’s all that matters right? I mean perception trumps game balance is the point I’ve been making this whole time, right? I mean I said as much in this article’s title.

Well, the article title is only telling half of the story. As I’ve said in previous posts when I play a game if the theme is awesome, but the rules are bad, then the game very obviously suffers. If the theme is boring, but the rules are good, then the game still suffers, but in a different way. If you can have an awesome theme, and awesome rules, then you cast the widest net possible, and maximize enjoyment. It’s why I design fusion games (games that use American type themes, and lighter Euro style mechanics), and why I prefer to play fusion games. Everyone at the table is likely to enjoy those games more than the games that are only American type or only Euro type.

In the same way, a game that isn’t balanced, but feels fun or balanced isn’t as strong as a game that is both balanced and fun. In the end you need both to make the best game possible.

1 2 3 4 8