Tabletop Game Design Lessons from Playing with Family over Christmas

Hey everybody (yes you, 1 of 3 fans!) I’m back after a lovely Christmas and New Years break and I’m basically gunna just give you a TL;DR for this whole post right now. Board Games with family are great, but also difficult, and the choice you make really makes or breaks the flow of the day.

Put simply, this is a post to help designers, aspiring designers, and those with just a tiny interest in tabletop game design, to make their games easier and quicker to understand, and will ultimately lead to your players having more fun and a generally better time. By following a simple set of rules not only will the right people find your games and play them, but also those people will be interacting and enjoying something that is familiar, makes sense, is straightforward to understand and that they will want to play again and again. Who wouldn’t want that for their game design!

1. Keep the rules Simple and succinct

This is the number one golden rule people. There is a really easy benchmark for this as well, it just needs to be easier to understand when players read the rules to each other, than having a player attempt to explain it because they are scared the rules might seem complicated. Use visual cues, and colour, and very clear and concise language that actually describes the act of doing things within the game.

And for the love of all that is holy please start your rules off with the actual aim of the game. The aim of the game, or in other words; how to win it, literally gives context to everything that is contained in the rulebook.

Aside from that though there are loads of really cool and super fun (for copywriters maybe) ways to create clarity and present information effectively. Things like: use positive confirmation and affirmation rather than negative (say ‘move into these spaces’ rather than ‘don’t move into these spaces’), use repeated and obvious terminology that easily describes sets of actions or behaviours, and generally describing things individually instead of trying to explain broad concepts or large sets of rules at once.

Also remember, this isn’t a novel, so try to keep the paragraphs nice and short, this is especially useful for when your grandparents (or anyone really, people forget things) put on their reading glasses to read it after asking for the 50th time for you to explain it to them. Serves you right for breaking out the heavyweight Euro at the in-laws for Christmas though really…

2. Know your target audience

So, you’ve made your rules nice and simple, good? Not good! (Actually this is just my bad for not putting this point before the last one.)

Thing is, you have to cater your rules, your diagrams, and even your tone of voice to suit your target audience. You know when your relatives come over for christmas and you talk a little louder to Grandma to make sure that she can understand what you’re saying. Not in a condescending way though, just because the human body naturally deteriorates over time (true story folks.) That’s why you have to cater to your audience.

Don’t feel like you have to accept your audience and stick with that though, allow the development of your game to tell you what your target audience. Like when you started school and they do a little sports test to see which students are good at what sports, same thing (except less degrading for children.) If you can figure out first who you are writing for, and then write for them, you’ll be doing a lot better than a lot of rulebooks out there.

3. Do not assume things are self explanatory

Clarify everything. Even with a terminology glossary if you have to. The aim here is to remove any ambiguity at all. Don’t allow interpretation if a rule needs to be clear cut, and specifically state it if interpretation of the rule is allowed. Remember, the rules should explain the game better than someone simply explaining it because the rulebook is confusing.

Unfortunately, writing a made up or ambiguous word like ‘philangey’, or ‘combobulation’ is just not gunna cut it. Use words that people understand without having to look them up, and if you can’t, then explain what those words mean without breaking the flow of the reader.

I know, I know, it’s like I’m just giving you a list of things to do without explaining exactly how to do them, like some kind of proof-reading tabletop fascist over here, but so much of this stuff is subjective. So I kind of can’t explain how to do them. Or I can and I just can’t be bothered.

4. Playtest like a mother…

Like a literal mother. Not that other word that starts with mother and ends in something rude and maybe beginning with the letter F. If you test like your actual mother, then who knows what untold problems and issues you could uncover in your board game rulebook.

I mean this really depends on the type of mother you have, but for the purposes of this I’m assuming they like wine at Christmas, and also don’t have a lot of time for things that are unnecessarily confusing and take a long time. Especially not things that would require someone to think or learn. I do love my mother though, honest. I just wouldn’t play Yamatai with her…

Testing is the crux of good game design though. Blind play testing is even better. It’s incredible how much you can learn about literally every aspect of your game from just simply watching people play it. Like a creepy little board game gremlin, watching from the corner whilst people play with your precious… ok no, that sounds weird. Blind playlets, but don’t go full gremlin ok. Probably for the best that.

5. Players should never feel completely out of the game

One of the actual banes of my life. Ok, maybe that’s actually the most middle class thing I could have ever said. An issue with board games is the bane of my life, what a life eh. I’ll stop now.

This is the reason Monopoly sucks so bad though, and this is the reason why a lot of newer style board games are so good! No player ever feels completely out of the game, and if they do, then there are other incentives for them to work towards! Didn’t win guys, but I did complete the longest road. In your face road builders of this weird hexagonal island. Never thought I’d live somewhere so geometrically sensitive. Or build roads for that matter. Oh, life with your twists and turns. Just like that road I just built, who’d have known.

6. Actually scrap all of those, just always focus on clarity and unambiguousness

Unambiguity? Disambiguity? I have no idea which one it is, but you get what I’m trying to say right? Of course you do! Otherwise why would you be here! A pity read? Oh. Fair enough, I’ll take it!

Basically this whole thing just boils down to one thing. Keeping it simple.

Oh and being concise, so two things. Oh and also making sure you are aware of your target audience, and always playlets. So four things. Oh, and making sure people are always able to stay in the game.

Five things.

Should have just stuck with the 5 points I guess.

Yours playtestingly,

Chris

How to Find Balance in Tabletop Narrative & Theme Design (and storytelling in general)

Everybody loves a good theme. It is literally what stops some games from being complete and utter trash to be honest, and a great theme can really elevate a board game to the next level.

What’s great about tabletop is that there are so many non-traditional themes out there that break out of the mould of stale fantasy or sci-fi (or Cthulhu, just stop please!) I’m talking dental practice board games, games where you are a stroppy teenager who just listens to metal music in there room and plays computer games all day (ok maybe that one was just me…), games where everybody is a spec of dust and you have to beat the other specs to become the most… speccy? You get the point. Also none of those are actual games but part of me kinda wishes they were. Not least to relive my nerdy isolated youth involving lots of angry music.

With the theme being key to game design though, and more and more hobbyists expecting detailed and intricately balanced theme and gameplay nowadays, it has never been more important to the success of a game or ensure that the theme and narrative design is 100% on point. And that is why I have created this list. It’s all about balance really, because we all know a game that is all mechanic or all theme is usually just boring as hell…

1. Be familiar, without being cliche

Oh hey guys I can totally relate to being a spec of dust right now! Since we’re totally playing the dust spec game that inventions earlier (and definitely doesn’t exist). You know, due to feeling small and insignificant and prone to growing mold if left in a cold, damp place for extended periods of time… nobody? Ok just me.

Familiarity is your foot in the door with your players, but it shouldn’t shape your entire game.

It’s like a tool you use to get people to go ‘ooooh right I get it, that’s what you mean,’ or ‘ahhh no way, now you’ve explained this horrendously complicated mechanic to me in narrative terms within the context of this relatable story I totally get it!’

See, easy.

The trick is to making sure you have just enough of a level of familiarity to frame complex game mechanics and nuances in a way that people can get really easily.

2. Be accessible, without being dumbed down

Now this is a 2 parter because accessibility really comes in 2 forms.

The first is the kind of accessibility that lets visually or hearing impaired people participate in your game with minimal difficulty. You should 100% build this into your game from the get go. It’s very important.

The second level of accessibility comes in the form of players learning and adapting to your game quickly. This means getting your players to a point where they feel in control, and understand how to not only play the game, but succeed at it, as quickly as possible. Preferably without detracting from the quality of the game.

So how do you do this? Well a few ways really, firstly through simplicity and clarity of copy. Really refining your rules down to a point where they are suuuuuuper clear and straightforward, and for Pete’s sake get a copywriter to proof read it (hi Pete!)

Secondly, context. Phrase things in a way that reflects the familiarity and context of your theme. Posing complex problems in the context of human decisions and emotions make them far easier to understand.

Thirdly, don’t be afraid to use visual devices like colour or iconography to help people with recognising things they are going to be doing multiple times. The human brain is trained to recognise patterns, so use that to your advantage!

3. Be intriguing, without being overly complex or abstract

‘Ooo he’s so mysterious’ a random girl said to her archetypical teenage friend. ‘Yes, but also he’s a spec of dust’ said the friend.

Specs of dust are abstract ok. Probably too abstract to understand in the context of a relationship right? Maybe the girls were specs of dust too? Maybe she has a thing for specs… of dust (not just eyewear).

You were intrigued though right? Ooo the mystery.

The point is, it’s good to be mysterious, intriguing and have some surprises in your narrative and theme, just don’t make it too abstract. Abstract is ok with familiarity and context but without being able to recognise what is happening in a way that relates to the actual game, the meaning of that intrigue and mystery is lost.

4. Be evocative, without being purple

Ah man I’m gunna so decorate every room in my new house full purple. My girlfriend will love it, I know her least favourite colour is purple but just wait until you actually seee it in person.

Not convinced.

Yeah neither am I.

I’m not talking about paint colours or interior decorating though I’m taking about the literary definition of purple. That overly long wordy and flowery explanation that should have just been explained in a few simple sentences kind of purple. Bad purple! I also have a dog called purple.

Ok I don’t, but now I’m just sad because I don’t have a dog. SIGH.

There is a right and a wrong time for purple prose. Right time: an overly dramatic description of the scene that starts the game. Wrong time: explaining how your innovative turn mechanic works (and how basically any functional game mechanic works).

5. Be inclusive, without being vague

Here at BGLA we loooooove to be inclusive.

No seriously, that wasn’t even meant to sound sarcastic, I know it did.

We DO care though, and you should to when you’re designing your game! Being inclusive should be paramount to the design of your game, after al, you do want to get as many people as possible playing right?

There are a couple of exceptions and things to balance here though. If your game is designed to fill a specific niche. Go after those people first, and then work on inclusivity. Sometimes certain types of games only appeal to certain types of players, and your core demographic may be more important than watering something down to appeal to everyone.

As with everything, it’s all about the balance.

Yours balancingly,

Chris

Why Empathy is the Key to Successful Tabletop Theme & Design

What do we have in the world if we don’t have each other huh? Yeah, it’s a cringey, cheesey, nausea inducing sentiment but really when it comes down to it all of these computers, iphones, spreadsheets and pretty graphics and cat memes really mean nothing if you can’t then share that on your next snapchat story with someone who probably doesn’t care that much about it. Life! So wonderful…

The importance of empathy however is something that most designers and creators struggle with on a daily basis. Empathy is about being human, understanding those human elements of a problem, and then solving them so that a human can use them effectively. Tada! Look, I’ve created a thing to make that thing you were moaning about redundant, so now you can go and moan about another different thing whilst being slightly frustrated that you ever let the first thing annoy you in the first place. Amazing design I’m sure…

So actually what does empathy mean for Tabletop design, and for Tabletop themes, and how can we use that to our advantage not just when designing games, but also just when choosing which game is best to introduce to your granny over christmas who has just finished watching the directors cut of lord of the rings on TV because it meant she didn’t have to talk to anyone about the crap presents she got (answers on a postcard).

1. Empathy is communicating risk and reward on a more human level

Using empathy effectively is about taking something that people relate to, and have an emotional response to, and  utilising that human reaction in a way that benefits what you are trying to achieve, or solves a human problem that the user or player originally had.

To this end, some tabletop games are too abstract in their risk, and some are too safe. Now the fun thing with tabletop design  is that the abstractions rarely get too farfetched that people cannot attach themselves to it, but without a clear example and demonstration of risk/reward in a familiar guise (the risk of death or possessions OR the reward of bonus items or powers for example), people will often not wholeheartedly buy into the theme or story.

2. Empathy is understanding the emotional cues that best engage players

Humans are overly emotional, I get it. In the oncoming storm of AI and the development of superintelligence we are probably  just over sentimental sacks of meat, with illogical languages and ineffective communication techniques that incorrectly prioritise emotional gain over that of the quantative physical variety.

The key to great emotive and empathetic tabletop design however is rooted, much to the dismay of future cyborgs I’m sure, in creating and utilising positive and negative emotional cues in an effective and engaging fashion. Figure out the areas in which your game emotes the most reaction in players, and enhance that.

Change gameplay based on human reaction and interaction as a priority.

3. Empathy gives players context for personal investment in a story or character

Out of context! What!  This book apparently is. Fact. Not a fun fact, just a 90s wordart over a badly shot bible fact.

Context is the final piece in the puzzle (probably not but it’s the last one on this article), sooo yeah.

Context is the means by which we compare things to other things and give meaning to the first things by virtue of the first thing having comparative but different meaning. Empathy with context is just that, emotions and human interactions with context. Putting those emotional and psychological attachments into context in a story or a theme provides that story or theme with a foundation in something already known. Something already established with which to change or manipulate the players experience in a positive way.

There is definitely some more here…

Sure, this is a brief overview, and sure there is only a mediocre surface level analysis going on here, but that all said, empathy is the cornerstone of engaging design. Empathy is the key to a positive and fulfilling experience.

Just don’t forget to think of the humans you know. Keep that on record for when the whole Skynet stuff kicks off anyway…

Yours empathetically,

Chris

How to Reflect Aesthetic and Tone through copy in Tabletop games…

Image for one second, living in a world where everything is explained in the same monotonous way. Nobody has a unique voice and everybody’s communication is solely intended to simply execute logically and effectively.

Well that would be a world of robots, where everyone is a robot, and thankfully, we don’t live in that world and (hopefully) aren’t robots. No offence if you are a robot of course. This is a very progressive LGBTR friendly blog you know…

Copy and the way things are written have a huge impact on our interpretation of things; products, brands, books, advertising, etc etc. It shapes the communicative character of a piece of work or a billboard ad or even a political campaign. It is something that you should definitely NOT overlook when it comes to creating a product, aka, your tabletop game design.

To that end, what steps can we take to ensure the copy and communication is as effective as possible, whilst still retaining identity, life, emotion, empathy and all that good stuff. Well here are a few exercises to help you get there…

Exercise 1: Imagine how your character or characters would perceive and communicate their world

One thing you can try and do to make your copy more immersive is to write through the voice or character of someone in your game. Sure this doesn’t work if you write through the voice of C’thulhu, but an impassioned speech from the mercenary soldier about the dangers of pushing your luck too far will be far more immersive than simply writing out the rules. Use this device where you can to add value to certain elements of your game that may require either emotional or psychological investment. The more effective this is the more immersed your players will be in the experience.

Exercise 2: Create an personal embodiment of your product, and communicate through it

Don’t ask about the image, first google search and all…

The second part of the first exercise is something that is very common in branding and identity development for brands and companies. Create a character, or persona around your tabletop game. If your game was a real life human person, who would they be, what would they wear and where would they shop. What relationships would they have and with what people, where would they work, etc etc. Once you have figured out the persona of your game, you will be better positioned to communicate that game in a way that better matches the visual tone, look and feel, and also enhances that experience.

Exercise 3: Clarity  is Key

Taking it back to basics a little bit before you get carried away here. So, it’s a bit counter intuitive, but despite writing through character, and adding those quirky elements of voice and tone into your copy, you’re gunna have to be regimented about keeping it clear, keeping it simple, and keeping it concise. Nobody likes flowery prose when they are trying to understand a core game mechanic, which leads me on to…

Exercise 4: Set a goal for every element of copy, and always refer to those goals as guiding principles

With every piece of copy you (or a copywriter more likely) produce for your game, be clear about it’s goal. What are you trying to achieve with this copy and what are you trying to communicate. Then, you can figure out what delivery mechanism works best for that piece of copy, and what form that takes and where it sits. If explaining an advanced strategy tip for example, because it isn’t a core piece of information, you might want to speak through the warcommander character in your game, and use the form of ‘Barry’s rules of war’, explaining each rule through that character. Whereas if you are explaining how to play your turn, you might want to just use the general tone of the game’s persona, but communicate in a clear and concise, calculated fashion, breaking the turn down into numbered bullet points.

What this all comes down to at the end of the day is effective communication though, and involving your players as much as possible in the process of learning and playing your game. Once that has been achieved, you’re onto a winner.

Yours copyly,

Chris

The difference between art and graphic design in tabletop design

Something that I understand is very easily confused when it comes to tabletop game design, and any other product design for that matter. What actually IS the difference between art and graphic design. Well, I’m gunna ATTEMPT to try and answer that question, and hopefully this is pretty on the button, since I am a designer in real actual life after all…

It can be on those buttons as well if you want, everyone loves those buttons. Sure it’s a bad joke but I’m just gunna go with it at this point 🙂

Both art AND graphic design are about communicating

THAT’S RIGHT KIDS, they ARE actually the same thing…

Well, not quite. But they’re quite similar for sure, I’m not about to make out over here like they are COMPLETELY seperate things. That’s ridiculous, and to be honest if you expected that to be the conclusion well then, shame on you? Shame on me? No idea. Actually don’t shame anyone, I feel like that’s a fair mistake to make.

Both parts of the visual puzzle though, are solving a very different communication issue.

Graphic design is about communication of a message and information

3 for the price of 3 no way! What a great deal, I’m in!

I’m sure more people genuinely DID buy more of that product as well. It’s the big yellow flashy label thing in the background.

The point is though that people have certain ways of reading, processing and interpreting visual information. That can be text, icon, colour or image. THAT is the graphic design side of the equation. Getting the information into peoples brains in the correct way, as efficiently and clearly as possible, with no chance of misunderstanding.

This comes down to things like layout, type selection, spacing, iconography, use of colour as a language, and all those other boring but actually quite super fun and definitely geeky things about design.

Art is more about communication of a story, an atmosphere or the world itself

Now here’s where it gets different. We’ve got the ‘boring’ (read: not boring, well, maybe it is, but to me it’s not boring, because I am a super design nerd and grids excite me for some strange reason. NO, not in THAT way, just in a totally normal and acceptable way to be excited, obviously) design side of things, and now the more fun and interesting art side of things.

Artwork is the world that the game exists in, it is the overall FEELING of the game and how the theme enhances the design. The artwork is about communicating an emotional attachment to a ficticious entity that your player can be a part of, you know, in their own brain. And just for a little bit, they can live there.

Here’s the catch though…

The distinction between both should be almost unnoticable

Whoever designed these spray cans  should be ashamed. THAT’S why  literally TENS of people ended up poisoning themselves… Ok so maybe it’s not that many but still. This is not cool. Design shame!

Thing is though, the most important and powerful thing to take away from this article is not that either art or graphic design is more important than the other. It is that the only way to create something TRULY immersive, engaging and that is immediately accessible and understandable, is to combine all aspects of BOTH.

No one is more important without the other, and I’ve seen countless projects on Kickstarter with incredible artwork, but terrible typography. Or a project with amazing information design, but horrendous art. The correct implementation of both of these, almost renders the distinction between the two impossible!

Yours designingly,

Chris

Things about tabletop games that instantly put people off playing them…

Tabletop gaming as a hobby, and as a group of people in your chosen community of residence, is maybe quite an elitist group of people. But they aren’t trying to be that way, as this mug so keenly demonstrates…

It’s just that on the surface, tabletop gaming is quite a high barrier to entry pastime. There are lots of complex and frustratingly boring rules to learn before you can even PLAY anything! Who would sign up to that, eh!? Well, quite a lot of people actually.

And really they’re not even THAT high barrier to entry, it’s just that people are lazy.

Ok that’s a bit harsh, they’re not LAZY as such, but people usually get stuck on a few different issues…

When the game covers more than an entire table

Let’s face it, some games are just too big. It’s a fact, and if you don’t believe it, well, then this humorous image of a giant carcassonne game probably won’t convince you otherwise.

It’s really that when a game has so many tokens, cards, wooden pieces and random other bits of plastic, wooden and cardboard guff, that it just LOOKS really bloody confusing. And that’s a problem for the uninitiated…

Just remember if you have some newbies to the hobby on board for the session, don’t break out the 4 hour euro epic. Get them involved in some  lower barrier to entry games

When they unnecessarily favour the incompetent

Ok so this one DEFINITELY swings the other way. It’s a pain point for many of you MEGASUPERHARDCORE gamers out there.

Games that favour the incompetent are bad, fullstop. Whereas games that use random elements to enhance the flow and design of the game are GOOD, and should be openly applauded by many people at once. I’m clapping behind this monitor and keyboard, promise.

So stop playing those games (I’m looking at you monopoly…) that favour those who aren’t even paying attention or barely even know what’s going on, and start playing tabletop games that are actually good,  but where through some stroke of luck and badly made but well-intentioned game decisions, somebody unexpected wins instead of just the guy who plays it every day for 4 hours. No offence to that guy of course, it’s just boring when you win all the time.

When the game recommends player numbers that end up being either boring or unrealistic

Yes, yes, I’m looking at you Robo Rally 2 player.

This one is not unavoidable but also not inexcusable (big words there Chris, hold back a  little bit eh?) Just design the game well enough to be fun across ALL numbers of players. They don’t have to FEEL the same but at least an 8 player game should be JUST AS FUN as a 2 player game if your range is from 2-8. Seems pretty logical to me.

When the table presence far outweighs the ACTUAL fun

Hard to avoid, this can happen very easily. Not the taxes part, but the boring but beautiful games part. Some games just have either so much hype, or so much PURE BEAUTY in front of you when you put it on the tablet, that for the first few games you actually become blind to the fact that what you have just done for the last few hours is IN NO WAY FUN AT ALL.

If this happens, just write on the box in sharpie something along the lines of ‘DO NOT BE DISTRACTED BY THE PRETTINESS OF THIS GAME, IT IS ACTUALLY STILL TERRIBLE’. And then laugh at your constant and endless failure to heed that message…

Yours  off-puttingly,

Chris

My Favourite Kinds of Dice, because I’m sure you care…

Oh look, it’s your favourite topic again Chris… dice! Hurrah yet more whinging about dice for absolutely no reason. But hold your horses folks! Or if you don’t actually have any horses just hold the closest thing to you that resembles a horse. This article is about my FAVOURITE dice. Maybe just tinged with a little bit of sarcasm. For the purposes of this post, this is me…

Sure I have the d20 car dice, and what, come at me bro. Stop being jelly over my car d20s yo.

For reals though, I do have favourite dice, some of them are listed below, and other things listed below are just made up because I thought they were funny. So it’s sort of a fun guessing game as well, see if you can guess where I’m being sincere. I’ll give you a hint… I’m not. Not much anyway…

Dice with faces on them

Look at those cute little green cubes! Who WOULDN’T love those, I mean it’s physically impossible. Tiny cute little zombie dices awww. Don’t correct me on the whole dices/die thing either I did it on purpose just to annoy you.

Seriously though, they are cute dice, and I love this concept, super simple, super thematic, and super fun to roll loads and loads of dice with faces on.

Colourful dice that have purpose

Hey guys, you know in like, design and stuff, people actually use colour to convey MEANING, not just as a cool way to make things look pretty. They actually mean something, what a revelation.

Now I’m a designer sure, so I probably appreciate this a little bit too much, but I just literally have a design nerdgasm whenever anybody uses colour successfully as a visual identifier. I mean like, I actually get this weird happy sensation when someone asks me to roll a dice and I can just go ‘oh, that’s the blue ones’ in my head. It’s like an orgasm but way less sexual, and about the same level of awkward.

Dice that still behave like dice when you roll them

THESE DICE ARE NOT GOOD. THE END.

This is a well documented rant of mine but don’t you just love it when you roll a dice and it ACTUALLY rolls across the table. It’s like it was supposed to be a dice or something holy guacamole.

Objects that do not roll or behave like dice should behave are not dice, they are just glorified paperweights with unruly scrawled numbers on the sides. Hell, I can’t even read the numbers most of the time…

Dice with riduculous numbers of sides

Now that is a thing of beauty,  just look at it, it’s beautiful face, with that moustache and red hat and everything. The dice isn’t half bad as well. This joke is a cliche though, so we’ll swiftly move on…

Any dice with more than 6 sides is a pleasure to roll though. Not to THAT extent, that’s a weird amount of pleasure to get from rolling an inanimate plastic object. Just a little bit of a pleasure, like a totally normal amount. Stop putting boring d6s in games people, 8 and up is way more exciting. Yep, I know the wholesale prices of d6s is probably way cheaper on Ali Baba but I just don’t really care that much. I mean just go d100 if possible…

Dice that for no reason present information that is completely obscure and utterly useless unless you have some sort of engineering degree or can read heiroglyphics…

Just look at that! So easy to understand, it’s like you d0n’t even NEED words, or a manual or ANYTHING, the meaning is IMMEDIATELY CLEAR.

I don’t get this one by the way, but I do love it. Weird symbols on dice are great. Just incredibly frustrating and confusing.

That look pretty darn wizard though. Bringing it back. Wizard that is, not these dice, I’ll never bring them with me to games night ever again. I will study them until my knowledge and understanding of this strange and foreign symbol language is complete. Now excuse me whilst I lock myself in a room to read the rules for the next 2 weeks.

Yours dicely,

Chris