Tagged: 2016’s Lessons Of Gaming Thread

2016’s Lessons Of Gaming #26: 251-260+

251. Recognise What Computers Can Do, And You Can’t

No, you can’t just fucking translate Hearthstone to physical cards and no it’s not a good idea to fucking try, oh my god. Hearthstone is a videogame that borrows mechanical concept space from physical cards but it’s SO bad an idea to try and duplicate physically. Look at the WoW CCG for how awkward things are like ‘using counters to track damage every turn for every card’

252. Mashup Pitching

Considering odd stories as inspiration yields exciting pitches: SMOKY AND THE BANDIT is a HIDDEN MOVEMENT ASYMMETRICAL RACE GAME.

253. Look Into Fonts More

Fonts: Tall, straight, narrow fonts look really swank they are also dyslexia-hostile. Basically if your font makes d and b and p and q look just like one another rotated, it’s harder for dyslexic people to read. Sadly, one of the best, most available fonts for fixing this problem is Comic Sans

254. Avoid Comic Sans

Never use comic sans.

Even as a fucking joke.

Comic sans will get you whined at endlessly by font nerds and let me tell you that is a whine that punches through all antiwhine measures.

255. Shuffling Vs Bottoming (Stop Giggling)

Do you expect a player to go through their entire deck in your game? Consider ‘shuffle in’ vs ‘put to the bottom’ in that context.

256. Trust Artists And Pay Them

As an Indie, don’t haggle with artists. Odds are close to 100% they’re undervaluing themselves. if you are a multinational company with lots of money to spend on gaming, well, Mr AEG, pay artists more.

257. Oral Rules Vs Written Rules

MOST of the people who play your game will not learn it from the RULES, but from a player who DID. So your rules are usually going to be, as it were, a photocopy of an explanation. What makes this harder to deal with is that you can’t rely on a verbal explanation! You need to design your rules that anyone can pick them up, and that they can then communicate them to players in short, explanatory sentences. Designing good rules is REALLY hard, and worth practicing.

258. Unbearable Silence

Games that require silence/an absence of communication have to be very engaging throughout the whole silent period. Also it kinda breaks the learning process of the game if players know they can’t talk at all, so cooperative silence beats competitive

259. Don’t Add Clutter

Players will have tokens, dice, and coins if you’re pitching at an Established Gamer style. Adding them can be just adding clutter. I learned this year that players have a super weird grossout reaction to using and handling real-currency coins I have no idea why. It’s a shame, because using pennies as game counters seems an actual valid use for the damn things.

260. Holy Hell How Long Is This?

Jesus christ, you people. Anyway, mode switching works best if the two modes have an easily understood difference. Like the Runepriest in D&D 4ed? Is basically ‘Switch between A and B’ but if you’re, say, a werewolf shifting between wolf and hunk? Or even like, a penguin, turning around from white-face to black-back would be good. The metaphor conveys the mechanism.

260.5. Bonus: Hey, Remember Tits The Girl?

It applies with aliens as well, and with whole class structures in games about combat or building character types. So, here’s the obvious, simple thing: Don’t gender classes, don’t race-link classes, and work on sexual dimorphism in your alien races.

2016’s Lessons Of Gaming #25: 241-250

241. Hotline Why Am I

There aren’t enough Sunset Noir games. It’s the aesthetic you can see in games like Hotline Miami and Drive and I really dig it. Consider if you like that flavour of vile neon and summer haze, see what you can do in that.

242. Encourage People, Seek Things That Encourage You

Being encouraged is, to me, super important. I would often float ideas to people, see people express disinterest or dislike, and bail. I’m lucky, I seem to have a kajillion bad ideas I can sift through and refine, but finding people who will try shit out is super important. So, be nice to the people who are helping you, just as a general rule. Playtesters, artists, other developers you share ideas with

243. Err On High Contrast

Bright colours, clear contrasts. Printed material doesn’t look the same as stuff on a screen, so go vibrant. Muddy is bad.

244. Take Notes!

WRITE DOWN EVERY IDEA.

I’ve noticed an explosion in my notebooks and I’m seriously considering starting Bullet Journaling just to get into good habits of tracking information and building up a library of notes I can reference later.

245. And Then Double-Check Those Notes

Revisit notebooks a few months later. You’ll find your old ideas were a bit bad but now you have new tools to approach them.

246. Freeing From The Marble

A big part of new game design is finding the Shit That Doesn’t Work and carving space away from it. Negative design space as it were. If you’re Mark Rosewater and you have a team and a company backing you, this stops being true. But I’m talking about respecting your limits.

247. Learning How To Make Structure

Daniel Solis provides a really excellent video on designing card faces here:

248. PULP IS GOOD

Right now you get a lot of mileage out of ‘GAME, but with CTHULHU. ‘ Do this, but with other pulp stuff.

PANDEMIC, but with TARZAN

RISK, but on BARSOOM

TICKET TO RIDE, but with LESBIAN BIKER GANGS

248.5. Pro Twitter Bonus Tip

Twitter will almost always get you at least a pity like for LESBIAN BIKER GANGS

249. Remember People Need To Carry Your Game!

Think of storage solutions. The LCG ‘one big box you can put expansions in’ is optimistic but kinda asshole to do up front.

250. Crowded Spaces

There are SO MANY 18XX games out right now that branding a new one has a serious problem of not duplicating another game’s year. Some clever dick went to UR 1830 BC, but that is a deep-sunk well and there’s a lot of Expectations. No 18XX game I know of, as yet, has a mechanic for clearing out the corpses of the Chinese slaves you used to build the railroads

2016’s Lessons Of Gaming #24: 231-240

231. Reward The Collector Instinct

Players like collecting sets of things. Even if the mechanical incentive to do so isn’t really there. It’ll happen.

232. Reward Player Impulses

Following 231, trying to fight how players generally behave is a losing battle. If players keep playing it wrong, try changing rules. This is one of Maro’s favourite points and he has the Time Spiral anecdote to back it up — efforts to make Suspend cards obviously unusable after casting confused players, so they just went ‘heck with it.’

233. Slim Rules, Strong Theme

The more pages your rulebook has, the more of an arduous task it is to learn. The BIGGER your rulebook is, the more difficult it seems. The Botch’s rulebook is a little a6 wee thing and it’s still pretty big.

234. Structuring Rule Writing

Three phrases to recoil from in writing your rules:

  • “Unless”
  • “In this case”
  • “Except if”

They’re sometimes necessary, BUT: If a player’s first impression, or first summary, is ‘I have to do subclause cf2 subreferences’ it’s a real bad look and puts people off. Try to structure your rules to avoid this kind of thing – introduce the broadest rule, then when things are established, then add the exceptions.

235. Start From Victory

Write your rulebook backwards. Start with how people win, and work backwards until you’re at setup.

236. Double Check Your Start

Pursuant 235, once you do that, leave it alone, come back to it, and see if that worked.

237. Evoke The Feel

Players’ first impression of your game should not be how tight the rules are or whatever, but ‘what this game lets me feel like.’ Relatedly, be super careful of describing your own game as ‘exciting’ or ‘hilarious’ on first parse. See if other people say that. This may be my low self esteem talking, mind you, I’m very shy of calling my own work ‘good’ thanks to my upbringing. You may differ.

238. Hard Is Fine

It’s totally fine to make a game nobody wins, often. Just understand the more unsatisfying play-throughs are, the less likely iteration. So if you want to kill all the players semi-randomly, make setting up again fast, make the play experience fast.

239. Let Me Outta Here!

A bailing mechanic is useful. Sometimes a player will just want to Burn Everything Down and get out. You can make that a mechanic. Consider zombie games where each player who dies becomes part of the opposition to speed up the end.

240. Inadequate Communication

Games like Mysterium thrive on limiting player communication then TRYING to communicate with a shitty method. This is a lot like Pass-The-Parcel wearing mittens, but it’s a good idea! Players individualise each game, just like charades.

2016’s Lessons Of Gaming #23: 221-230

221. Critical Spread

I watch a lot of review videos, and not just of games. Critique and commentary about other media forms is jammed with useful insights. Look at movie reviews that talk about cinematography.

222. Number Types

Prime Numbers don’t neatly fit into each other. If units move in prime values it can reduce collisions. Of course, you might want collisions.

223. Vanilla Matters

With some types of games, you need a mix of ‘boring and easily understood’ components and ‘interesting, spicy components.’ Magic: The Gathering is full of critters that don’t have abilities because they make up that ‘boring and easily understood group.’

There’s always an urge to make Everything Exciting. Resist it. You might be loading your players up with Too Much To Remember.

224. Dead Player Walking

In games with open information it’s sometimes possible players might have won or lost and it’s obvious to YOU, but not THEM. This is, again, part of player load. If no player notices a win state, you might have made that too complicated to grasp.

225. Use The Inhuman

Inhuman actors don’t have to have human expressions which can make them easier/more inherently funny/more threatening. A game about controlling a skeleton vs a game about controlling a bear, for example

226. Simple Structure Doesn’t Force Simple System

Your turns don’t need to be complex structurally to be full of interesting decisions. In The Botch, on your turn, you have 3 options: An Action, A Swap, or a Look. Turns are STILL super difficult to pick through. Dominion has three actions by default – Action, Buy, Cleanup. It’s still super complicated.

227.

it’s 100% okay if a playtester doesn’t like your game. If only one playtester likes your game. If only you like your game. Remember, this is Print On Demand. If anywhere can handle a game for Me And The Five People Like Me, this place can

228. Easter Egg Jokes

If the jokes are unobtrusive and you don’t NEED to get them, you plant rewards for players who DO get them.

229. Recover, Not Reset

Recovery mechanics are good but reset mechanics are the WORST version of recovery. The worst example of this is from one of the worst games I’ve ever seen, OneUpManShip, which players can reset at will.

230. The Incongruous Stealth

Stealth conventionally is a mechanic for circumventing challenges. This presents a problem in team spaces: D&D has really bad stealth because one player avoiding a fight just means they miss out on 40-120 minutes of The Other Players’ Fun. Not just rewards, but just the sheer TIME involved.

2016’s Lessons Of Gaming #22: 211-220

211. Cheap Experiences Easily Obtained

Pursuant to 210, this is a big boon of digital distribution. If your game is a booklet/printable game, single-shot play is palatable.

212. Remember Players Default

If you break a big, common rule from your genre, you need to reinforce it or players will default to the ‘normal’ way. Like, how many of you learned to play Monopoly without auctions or with free parking?

213. Being Inclusive

Inclusivity is easier than you think. Consider this example, showing a cis character vs that same character if she was trans:

You don’t need to be an expert in gender studies to simply not cut off areas where players can feel connected.

214. Give Up On What Doesn’t Work

Be willing to iterate. Bad looks will give way to better looks if you’re willing to make big shifts:

215. Advertising Is Hard

I made ads, and how-to-play videos, which did not do a good job of advertising my work.

The main thing I heard from people I asked is they wanted to see LET’S PLAY videos, which I can’t make. Yet.

216. Disparate Identity

You can get good results drawing together different pieces.

217. Single Cards’ Values

You can also use a single card to track a small score for a game that you want to iterate a BIT.

218. Double Check Your Game Name

Google your game name! Say it aloud! Say it to people! And change it if it sounds awful! Don’t be stuck with a bad name! And if you think it’s a great name really double check it because you don’t want to be attached to something that sucks layer!

219. Concept Anatomy

I made a bunch of these to try and explain sets of things. They’re good exercises and get you into the aesthetic techniques.

220. Your Work Reflects You, And

The people you love inform the things you make.

I would not have thought of ‘Javert x Major Kusanagi,’ or ‘enby coder dealing with health insurance’ or ‘vocaloid emergent AI’ on my own.

 

2016’s Lessons Of Gaming #21: 201-210

201. Remember Advice Comes From Sources

This is my advice, and what I’ve learned. It doesn’t necessarily apply to you. I’m sure you can find people who disagree. Particularly, the rules don’t seem to apply to Vlaada Cvhatil or Reiner Knizier, who are. . . productive monsters

202. Expanding Classics

A lot of good games use the basis of ‘classic’ card games and then add ‘not boring’. Blackjack is a push-your-luck, skull is poker; Pyramid is a kind of resource allocation, solitaire a kind of area control. You can build out on these. Heck, you can build a lot – look at how Samurai Spirits is basically an upgraded version of Blackjack.

203. Let’s Not, With The Genocide

When you make games about two warring forces, try not to make one of them a side that genocides things or people. Like it’s just not a good look.

204. Each Enemy Is A Puzzle

When you make monsters for games, are they boring as soon as you know how they work? Then you’ve probably made a nilbog. Nilbogs, from original D&D were goblins, backwards, and you had to heal them to kill them. They were frustrating and irritating, BUT as soon as you knew the trick to how they worked, they were boring, and just had to be picked out like rabbit turds in coco puffs

205. Trust Designers

Assume well of designers when you’re analysing their games. Assume they chose to do things rather than did things ‘cos they’re stupid. Not to say they can’t make mistakes or stupid things, but if you assume they had a reason it can be easier to explain things

206. Reference Pool

People will use other games as a reference point and that’s okay. So, it’s a bit like Netrunner,

207. I Believe In You

I encourage you like this because I am pretty confident you DON’T have creative infrastructure around you, don’t have good habits yet. I will hold out ‘Do Not over-scope’ and ‘make small things to start with’ as good principles, but odds are good, you’ll ignore it. But it’s important to me that you at least understand there’s something coming, there’s a future you can reach for where you Make Things If You Want To.

208. The Weird Copyright Of Emoji

EMOJI ARE THE WILD GODDAMN WEST. They exist somewhere between art and font and their usability is really uncertain. You can put them in your game, sure, but if you want to give payment/attribution to the creator. . . good luck finding them? This is not true of Unicode, which is usually included in your font or public domain. Unicode has lots of nice, useful symbols to it. This falls under ‘don’t reinvent the wheel:’ All the classical card symbols, a number of arrows and some expression are in unicode

209. Test Your Funny

You’re not as funny as you think you are just because your friends find you funny. Don’t push it in your rulebooks. Rules are hard to write, comedy is hard to write. Be damn careful about trying to do both at once.

210. Disposable Experiences Are Okay

A game doesn’t HAVE to be repeatable. Some games, like mysteries or horror, work best if you can only play them ‘once’ cleanly.

2016’s Lessons Of Gaming #20: 191-200

191. Scope! Scope Scope Scope!

Fuckin’ don’t make your first project like “Mage Knight But Dark Souls With a TCG.” Make your first project the _smallest possible thing you can_. You don’t need an epic world. You don’t need booster expansions. Start making a small thing and you will learn from that to make a slightly less-small thing. You can’t just JUMP into the sky and figure you’ll fly.

192. Crossplatform Cards

You can learn good things trying to translate videogames to board games just, like, please stop translating the boring shit.

193. Idea: Transforming Robots

A robot built out of cards that you flip over to transform into a different mode, but also, Cards that socket into other cards.

194. Doing Your Math

Players don’t need to know the math YOU did, they need to know the math THEY have to DO. Your back work can be ugly as sin and hard as diamonds and it’s OKAY if you never ask players to multiply prime numbers or some nonsense. (Unless your game is LITERALLY about doing crypto in which case. . . fascinating, and well done and I’m curious?)

195. Reasons For Players

Games almost always benefit from players having a reason to LIE, a reason to WANT, and a reason to COOPERATE. All at once. Funnily enough this is why you have lots of games about crime and politics (which is crime with a suit). Players wondering ‘are you lying’ is so much more handleable a problem than players asking ‘is anyone lying at all’

196. Box Air Has Some Purpose

Tight inlays and packed boxes can look nice but it makes packing the game up more annoying. Be mindful of that interaction. I know I harp on how boxes being too empty is a problem but there’s some value for flexibility.

197. The Continued Continued Adventures of Tits The Girl

If you have a variety of women in your character lineup, check if they’re all The Conventionally Hot One. Blizzard had this problem with Overwatch, where until Zarya showed up, everyone was just a very clear, typical example of Curvy Femme.

198. Relax The Stressors

Redirecting the focus point of an existing game can transform it. Mafia De Cuba is Werewolf If You Could Just Take Shit Easy.

199. Hidden Role Games

Werewolf-style hidden role games are fun and pack a lot into a small space right now but reviewers seem to be Very Fucking Sick Of Them. I say that even though I’m in the middle of making one of them.

200. Sharing And Listening

jesus christ,, 200? Really? Fuck me. ANYWAY, you can’t have all the good ideas yourself. It’s worth your time to share ideas and listen.

You can’t exclusively own mechanics. Copyright can’t apply to ‘methods of keeping books. ‘ Sharing and learning from other games is okay.

2016’s Lessons Of Gaming #19: 181-190

181. Game Term – Quarterbacking

QUARTERBACKING is the propensity of players in cooperative games to try and run other people’s turns ‘the best way. ‘ It’s obnoxious.

182. Market Success

A lesson to learn for when you are frustrated as a developer at your lack of commercial success: Success is largely random. You will not do succeed based on the quality of your work, but shitty work is more likely to fail. Also, when you move in circles where people expect to pay for things, things are different – look at the kickstarter crowd for examples.

183. Your Niche Moistens

Yes, you can make games about your personal fetishes or niche interests. I mean, Kojima did it and people think he’s a genius.

184. More Representation Easily

If you give players character cards, and they don’t NEED a back, put an identical card face w/a different gender look on that face. This does get a bit binarist but giving players even modest gender choice beats Here Are Seven Dudes And Tits, The Girl.

185. We Are Way Too Happy About Colonialism!?

We got a lot of games about the ‘age of sail’ ie, colonialism and slavery, that kinda don’t want to talk about it. Maybe talk about it. Shout out to Kemet for flat out stating one of the power bases is slavery, and making that type of power in-manual ‘White Power’

186. What Can Games be About

One game idea I’ve had lying around for a while now is Worse Than Hitler, which is ostensibly blackjack but is also meant to help express how every country in the world has committed genocides and there’s a problem with us just blaming Hitler. People hear this idea, and then, usually, say oh, no, that shouldn’t exist, because that’s a subject games shouldn’t touch.

They’re just wrong – it might be I shouldn’t be the one to make that game, but the principle is wrong. Saying ‘we shouldn’t make games about that’ is like saying ‘we shouldn’t make documentaries about that. ‘ It’s limiting what games can do. Now, ‘you shouldn’t make a game about that because you’re a stupid clod’ that I can buy and I think I’ve probably said it.

187. The Continued Adventures of Tits The Girl

If your cast of player characters has only one of anything, that person has to bear the weight of who they are. So if you have Seven Swordsman And Tits The Girl, the assumption is Tits is ‘normal’ for girls in this game world.

188. Deck Builder Blues

Deck builders give up a painful amount of space to your starter cards, and that’s PER PLAYER

189. Capitalism Kills

Lots of trading games assume people can’t work together sincerely and the mechanics reflect that. Which is shitty as hell. Even monopoly has the random ‘well fuck, guess we weren’t expecting that’ cards, even if they’re rarely tangible.

190. Getting Cute, Getting Paid

Cute is not the opposite of serious. Cute is not the opposite of deep. Looking good is not oppositional to being fun. A game is not more serious because it looks like a wall calendar. There really isn’t any excuse for making the art objects we make of our games look ugly any more.

2016’s Lessons Of Gaming #18: 171-180

171. Shared Space Create Shared Learning

Players having overlapping goals or mechanics is SUPER USEFUL during learning phases. They can teach one another/learn from one another.

172. For Rachel

Put a gay robot in, just ‘cos.

173. Alphabets Are Not Everybets

Look up the language form known as Abugida, like Inuktitut:

When you design codes and hidden information there’s a powerful urge to use the basic structure of the language you already know. This is why aliens in most games still have decimal number systems despite having like, six fingers or whatever. Not only is Inuktitut totally sweet but it’s a way of concealing language that will broaden most players’ worldviews as they learn it.

174. Remember Card Real Estate

Cards can flip over and rotate, giving them potentially 8 states you can track easily. MTG’s werewolves handle transforming cards SUPER DUPER WELL, and Fury of Dracula’s decks use their cardbacks well too.

175. Noob Effects

If you want to design ‘magic the gathering, but without manascrew’ look up those who came before you and failed: The WoW CCG and VS. Both games were designed by MTG pros to try and reduce ‘noob effects’ and ‘be more skill rewarding.’ Turns out that’s actually kinda a bad system for getting new players into your game

176. Experiments In Learning – Dirt

Make a game by drawing on the dirt with a stick. There are at least two well known games that can play this way. Work with little.

177. Replacing Variables Changes Games

Battleship is basically a bingo variant. It replaces a random variable with a player working off hidden information.

178. Don’t Relinquish Limits Easily

Resource systems are a way to control players. So be super careful with anything that circumvents that resource system

Necropotence,

179. Creepiness

IT IS SO EASY TO DESIGN YOUR GAME THAT ENABLES PEOPLE TO BE CREEPY! Hidden information games particularly! Don’t do this! try to make sure your rules are NICE AND CLEAR about DON’T BE CREEPY at people! Think about the kind of questions and interactions your game entices people to have. Creepy is Always Bad, okay?

180. Examine Game Parts

Conventional d6es have each opposing face add up to 7. You can design around ‘the missing face’ of a dice with this information. This also means that the range of the total numbers on a rolled dice is 15-20, which is pleasantly round.

2016’s Lessons Of Gaming #17: 161-170

161. Failure Teaches Function

You may not like the people who nitpick games, but nitpicking how games fail is a useful lesson both in not what to do, but also how to see through a design to the end. You’ll often find most bad designs come from places of unexpected confusion or someone failing to pay attention all the way to the end. With that in mind, dismantling how games fucked up can help you be a better maker. Your homework is the 3. 0 D&D Spelldancer.

162. Your Undocumented Resources

Every game taps two undocumented resources: player mind space and player time. These two resources relate to one another. Too much load slows things down and players will play slower. Too little time and players will default to FUCK IT, THAT’LL DO. Some games try to offload material on the table with material in the mind – like tracking scores and currencies. Doing that will slow players down, too – meaning it eats into your time.

163. Design To Your Strengths

Early on I recommend finding the thing you want to do the least of (art, systems, content), and designing the game to minimise it. If you don’t like making art, you can skip out on it, make a game which is all text. If you don’t like making rules, you could go art-heavy. If you make music, you can make games about playing with the music.

164. Remix Remix

Pursuant to modding, making variants of games is fine. You can’t borrow art assets or copy rules text, but the rules themselves, sure. Indeed, if you’re a fan of public domain and remix culture, board games are one of the purer forms of it that still exist.

If you want to make a game inspired by Secret Hitler, for example, remember that Secret Hitler derives from Resistance, which derives from Werewolf, which derives from Mafia. Game mechanics aren’t something you owe money for.

165. Respect Playtesters

Some players want to push systems until they break. These are good playtesters. You need to know where the fences are weak. Note that because a player can tell there’s a problem doesn’t mean that that player knows the best way to fix it.

166. Make Mine Mythic

Balance is a myth but it’s an important myth. City of Heroes was one of the best games I ever played and its balance was somewhere on the far side of ridiculous. Arcanaville was a goddamn science-prophet when she said ‘the balance of this game is mostly about keeping us from going too far outside the fences, not keeping us inside the fence.’

Players are often only playing against themselves. They’re playing against the game, and against their tolerance to keep playing with your friends. Soft games, games where the conflict is a bit unimportant, tend to get some guff, but don’t forget that there are players of all varieties, and some games want players who won’t push them, and some players are looking for that.

167. Access Over All

If usability or accessability are hurting your aesthetic, the aesthetic must give.

168. Print-And-Play Testing

If you’re doing print-and-play, make a black-and-white version of everything and see if it looks like garbage ass. A lot of Print-and-play folk only have a black and white printer after all

169. Your Tools Are Okay

Word is Good Enough. Google Docs is Good Enough. GIMP is Good Enough. The best tools for any job are the tools you’re comfortable using. Anyone who wants to tell you ‘you SHOULD make in <THING>’ on principle are probably wrong. Try it and experiment, but you’re not obligated.

170. Learning Split

When designing asymmetrical games, recognise you’ll have to teach the game twice. The board game VAST takes this problem and winches it up to the nines: There are SIX DIFFERENT RULESETS, and no players overlap.

When two players understand the same sets of rules for the common parts of the game, you make playing it faster and easier. Magic: The Gathering plays smartly here, where the core of the game, both players understand and it’s in both player’s best interests for it to have integrity.