Same Room Gaming

[sameroomgaming]

Experience war through the civilians eyes in The Forgotten

Andrew Medeiros seems to be a designer who believes games are capable of enabling thoughtful and emotional experiences. This is perhaps best represented by his current Kickstarter project for his live action card game, The Forgotten, which attempts to put players in the shoes of the civilians struggling to survive in a community grasped by war. On the campaign page Medeiros commented on his goals for the project and explained, “I designed The Forgotten as a way to teach myself and others about the horrors of war, and to focus on its’ often overlooked victims, the civilian.”

The Forgotten takes place in a city in the final days of a civil war, and focuses on atmospheric storytelling, character acting, and difficult decisions. Players work together as a group to overcome challenges like hunger, injury, and demoralization through the use of a custom card deck. As cards are revealed unique events are triggered that occur to the characters each night. Every choice lends to the drama and sense of consequence the game seeks to instill in players. A session takes approximately 90 minutes to complete, with a mechanical day/night cycle that plays out in intervals of about 18 minutes each. Players interact with each other during the day through roleplaying, and then decide what actions their characters will take depending on the situations each night brings. Medeiros has made sure his game can accommodate a more straightforward tabletop experience, to allow those who may not feel comfortable with the live action acting elements of the game to still participate.

The dramatic tones and subject matter are some of the most important elements to Medeiros who stated, “It’s a grim tale and exaggerates certain elements of these stories in order to deliver a fast-hitting and dramatic story, but I tried to balance that by not forgetting that there is good in everyone.” Despite his seemingly honest attempt to convey very serious scenarios in a respectful way he still acknowledged, “I know that this game can never capture what it’s truly like to live through something as terrible as war and how it tears apart a person’s life, but my hope is the game will teach people that war is not something to glorify or celebrate, but to fear and denounce.” Intrigued by this unique game we sat down with Mederios to learn about what drove the designer to create such a thought provoking experience.

Jesse Tannous: Why did you originally pursue game design? Has your reason changed at all over time? 

Andrew Medeiros: I've always loved to tweak and alter game systems I've played in the past. Didn't matter what game I was playing, I would find areas I wanted to change/upgrade/improve. I suppose moving into actual game design was just about having the right idea and friends who thought I could do it on hand to encourage me. Once I started, I found it easier to continue designing. It's a lot of fun and I can't seem to stop now. 

JT: What personally motivated you to make a game like this that deals with such intense and realistic situations? 

AM: I wanted to create a game that told a different kind of story. Too often in games, we focus on the larger-than-life character, which are fun and I love them, but they don't often teach us very much about ourselves. The Forgotten was a chance to tell stories about regular people living through the impossible, people like you and me who are put into a terrible situation and forced to make the best of it. It's ultimately a story of sacrifice and love, and that's what I wanted to create.

JT: What is it about a role playing game that made you believe it would be an effective facilitator for players to consider these sorts of tragic events?

AM: Well, technically The Forgotten is a live action roleplaying game, but it borrows a lot of ideas from regular tabletop. We use game mechanics that a lot of tabletop and board gamers will recognize; there are elements of resource management and worker placement as you need to choose the best people for each job and keep your supplies from running out, lest you all starve or die from sickness/disease. We kept it pretty simple though, wanting the game's mechanics to lend to the story and drama, and not distract from it. I think I struck a good balance with it.

JT: Do you plan to create more games that explore serious topics like this? 

AM: I would like to. I have a few games on the back burner right now which are more mature or deal with important themes. I feel that as a designer who has a voice, regardless of how small or large, I have a responsibility to create games that make people question the status quo and think about how we can make life a bit better for ourselves and others.

End.

For additional details on The Forgotten make sure to check out the Kickstarter campaign, or visit Medeiros’ Patreon account to see what he may be working on next.

[sameroomgaming]

Final Countdown to Thrones

Imagine a version of chess where each player can put their pieces anywhere on their half of the game board in secret, and you get some idea of what to expect from game designer Chad Anthony Randell’s Kickstarter game, Thrones. This highly strategic two-player game takes major inspiration from classic games like Chess, Cyvasse, and Stratego, to create a truly unique experience for two players. Currently successfully funded on Kickstarter, Thrones promises diverse strategic gameplay and high quality materials for their game boards.

The game begins with two opponents setting up their respective halves of the full game board with colored tiles that represent different geological landmarks like bodies of water, mountains, forests, and plains. Each player is also given an important fortress tile which, if captured by the enemy king, marks defeat. Once their half of the map is created, players will then begin to place their units to create their ideal strategy. Obviously their information is limited as the opposite side of the game board has yet to be revealed at this point in the game. As with chess, each unit has different abilities and movement guidelines that correlate to the different colored tiles. Once each player has completed their set-up, the screen will be lifted and the real war begins.

In the Kickstarter campaign Randell explains, “There is a very real social element to this seemingly simple strategy game,” and went on to describe that the unregulated nature of tile placement helps foster, “the emergence of strangely exciting, and memorable moments.” Whether those moments be the realization that some pieces must be lost for there to be a chance at victory, or seeing the evil brilliance of your opponent’s set-up for the first time, it something that Randell feels makes his game, “uniquely human.” For additional game rules, or to check out some of the funding rewards make sure to visit the Thrones Kickstarter page.

[sameroomgaming]

Final Countdown to Mark H. Walker’s ’65

According to their website’s mission statement, Flying Pig Games is determined to, “Create beautiful, high quality, exciting games focusing on war and strategy gaming, but not bound by the genre.” The small company has already designed and published several war games, and now has seen successful Kickstarter funding for their latest project, ’65. Designer and Founder Mark H. Walker has been involved in the game industry for over a decade, publishing a number of award winning games such as Lock ‘n Load, World at War, and Nations at War. Now he hopes to bring his latest creation to war-gaming fans both new and old, and based on the support the Kickstarter campaign has acquired, it seems he may have already achieved that goal.

’65 is a squad based tactical game set during the Vietnam War. Players command their squads on one of three distinct geomorphic game boards, which recount a variety of historically inspired battles. As opposed to other similar looking war-games, ’65 implements a card-driven system reflective of another Flying Pig title, Night of Man. During a turn the active player can decide between a number of different actions for their squads, but must be cautious and calculating in case their opponent is holding onto a card that may disrupt the plan. Commander units and special abilities such as ambush, lay smoke, satchel charges, and grenades can all be utilized to try and claim the battlefield. The game is designed for 2-3 players, and is supposed to last anywhere between 1-3 hours.

A number of stretch goals have already been unlocked for the project which add additional battle scenarios, and squads like the ANZAC, forces from Australia and New Zealand. For additional details on gameplay, design, and of course for those interested in backing the project, make sure to check out the official campaign page.

[sameroomgaming]

Order your very own game night with Vault

For years, entrepreneur Caleb Alexander has made it his hobby to organize game nights, to share some of his passion for tabletop games with others. Now with the launch of his new organization named Vault, he hopes to make setting up engaging tabletop gaming experiences his business. According to their website this Flagstaff, Arizona based company is, “In the business of bringing back game night.”

Many avid tabletop gamers have that one friend in the group who always seems to be the game night moderator. They regularly buy the new games, and are always looked upon to know the rules and set-up to make the weekly game night go smoothly. Alexander hopes to achieve that same sort of feeling for individuals and businesses looking to enjoy a fun and seamless gaming experience. Vault offers a number of a packages designed for small business venues, office environments, or the family looking to unplug, sit around a table, and enjoy each other’s company with some games. We sat down with Alexander to hear about how he started this venture, and a little more about this newly emerging profession of gaming event planner.

Same Room Gaming: What inspired you to originally start up this business? 

Caleb Alexander: Starting a business, I had to think about my gaming experience, developing an audience, and defining a product. I've been running game nights at a local bar since 2013, sparked in part by interest from a bartender. (Thanks Leah!) First, I wanted to do an online game rental service. I thought, "Games are expensive and blocky, why not just rent?" The cost of shipping shelved that idea. The more I thought about it, I realized the experience, the play of the game was what I wanted to celebrate. From there I thought I could market what I was already doing: game nights.

SRG: How far has gaming come since the era of Monopoly and Battleship? 

CA: Tabletop gaming has a long history and I don't think it’s fair to think about what earlier games lacked. While games like Monopoly, Life, and Connect Four have best possible strategies, games like Go and Chess have simple rules but seemingly infinite permutations. When I look at modern gaming, designers are influenced by almost four decades of tabletop RPGs (like D&D) and over two decades of computer games, each of which can create rich, imaginative worlds to inspire designers and players. Books, film, TV, and comics are also telling more complex stories than before. I do see the power of design-friendly technology in artwork and figure building. Dead of Winter is marked by evocative artwork for dozens of characters; the similarly themed, if very different, Zombicide has gorgeously detailed miniatures. The printing and forming were not possible even ten years ago. Crowd funding and print and play publishing have made games like Cards Against Humanity and Monikers possible where they weren't a few decades ago. (Kickstarter launched in 2009, only six years ago.) It is a perfect storm of media, technology, and cultural experience for great tabletop games.

SRG: When a group schedules an event, how do you determine what selection of games would be ideal for those players? 

CA: I ask. While I love games, they're more about relationships between players than what is on the table. I don't ask what games they want to play, though, I ask about favorite movies, books, TV shows and pastimes for the group. What do the players do together? Do they like to compete or work together? For example, I am an HP Lovecraft enthusiast and play Elder Sign with new people whenever I can. I'd consider Elder Sign for a group that likes horror movies or has never played a cooperative game. I can also theme it around staff parties with social games like Funemployed!, team-building events with cooperative games like Forbidden Island, or small groups with longer adventure games like Betrayal at House on the Hill. At the weekly game nights I can see what games acquaintances enjoy together. That helps too. 

SRG: You also offer services to run sessions of more in-depth roleplaying games like Dungeons & Dragons. What are some of the most important aspects to ensure that strangers have an enjoyable time with a more personal and interactive game like that? 

CA: The Adventure Pack introduces Dungeons & Dragons in a 2-3 hour session and it's getting a lot of attention. With the Adventure Pack, I set aside character generation and thrust people into the action of the game. My players follow their instincts and I track the subsequent decisions. One player picks a lock, she's going to be dexterous and probably a rogue. Another player grapples with the guard, he's probably strong and likely is a fighter or paladin. Who takes on the interrogation? She has high charisma and could be a bard or sorcerer. I love character creation, but it front-loads the experience with technicalities. If you sit down at my table, you get to play, make decisions, and explore. At the end of the session, I hand players a partly filled character sheet with some recommendations. With a little bit of follow up or another session, you'll be ready to go and have a character that feels natural to you. I was inspired by this method from Gamers with Jobs Conference Call, Ep456. Check it out!

SRG: What has been the reaction from players who have scheduled your personal events for their family or close friends? 

CA: Vault is a new business and it takes time to get any business off the ground. My Monday events are stronger than ever, but selling a personal experience like a game night isn't easy. I've been offering a free event to businesses as a holiday party or team building experience. That allows me to spread the word to businesses about my regular events and encourages people to schedule a family game night. Once they know what I'm offering--gaming knowledge, quick play introductions, fun games to play with their favorite people--it is much easier to schedule more events. Building brand awareness while you're creating a new kind of product is a big challenge! Good thing I love doing it!

End.

For more detailed information on Vault’s services, make sure to check out the official website, Facebook page, and Twitter account.

[sameroomgaming]

Experience almost 20 years of killing Doctor Lucky

Kickstarter seems to be breathing new life into yet another classic board-game, with the successful funding of the 19.5 anniversary edition of Kill Doctor Lucky. Originally designed and released by James Ernest and his company Cheapass Games back in 1996, the project has blown through the initial funding goal, and shown that players still seem very interested in taking a swing a Doctor Lucky. The new deluxe edition comes with a core rules overhaul, new art, and even alternate game modes.

In Kill Doctor Lucky 2-8 players sneak around a large mansion attempting to kill the Doctor without anyone else seeing them do it. If the Doctor enters a room of the mansion occupied by a player, and no one else has line of sight, then that player can try to make the fatal blow using a variety of weapon cards. However, getting the old man alone often isn’t enough, as other players can discard luck cards to help the Doctor slip away. We sat down with Ernest to learn more about what Cheapass Games plans to do moving forward, and his reaction to finally returning to his companies’ first published game.

Same Room Gaming: What effect do you believe the lack of availability has had on fans both new and old of Kill Doctor Lucky over the years? Was this in anyway intentional?

James Ernest: I recently saw the Paizo edition of KDL listed at Amazon for $399. I have no idea if anyone will buy it at that price, but clearly someone thinks it is worth that much.

Has this affected the fans? I doubt it. Was it intentional? I can only speak for myself, but no. As far as I know the original black and white edition of Kill Doctor Lucky was in print continuously until Paizo took over the deluxe edition in 2006. Paizo made two versions, with a gap in between, and I believe that was because they had trouble finding a source for the parts.

SRG: Your Kickstarter has already accumulated more than double your original funding goal. Was this amount of support a surprise? Or was this campaign designed to expect a certain degree of over-funding? 

JE: With Kickstarter, there is a stated goal, and there is a real goal. To be honest, halfway through the campaign we still haven't raised the amount required to actually produce this game. If we don't hit that "real" goal, we will have to make up the difference from our pocket. Which is fine, because I am pretty sure Doctor Lucky will do well in retail stores.

If we do "over-fund," we can use the extra money to make the core game better, and also to produce other games, as we've done many times in the past. These side games become part of the campaign, and they help us grow our product line without doing a separate Kickstarter for every new project.

SRG: What were some of the main factors that resulted in Cheapass Games going into a virtual "hiberation" from 2007-2011? What brought it back? 

JE: In 2005 Cheapass Games had grown too large. I had six full-time employees, I was renting an office and warehouse space, and I had a lot of titles in print. We were grossing more money than ever, but netting less. So I needed to figure out how to grow the bottom line, or shrink the business until we were more profitable. Shrinking meant taking a break from new products, letting some staff go, and taking some time to sell down the existing inventory.

About the same time I got an interesting job offer from Microsoft, so I shuttered the business more or less completely in 2007, and it stayed closed until about 2011, when I started posting free games again at cheapass.com. During the interval I licensed some of the biggest titles to other publishers, and those are mostly coming back home now that I'm printing games again.

What really brought us back was Kickstarter. I can't print games as cheaply as I used to; small printers have all gone away, or been swallowed up by bigger ones, and digital prepress has made color printing no more expensive than black and white. Instead, the main costs are paper and shipping, so deluxe games seem to make more sense now than super-cheap ones.

Kickstarter lets us print deluxe games without a lot of operating capitol, and I can still release free versions at cheapass.com.

SRG: How does it feel returning to refine and republish Kill Doctor Lucky nearly 20 years after it was first published? 

JE: I've been anxious to do a new edition for years. We set the target date as the 20th anniversary, but because of various timing issues we decided to go a little early (hence the 19.5th anniversary edition). I have not been completely satisfied with any of the previous editions, and the rules overhaul (and new art) are looking really good.

Kill Doctor Lucky has always been our flagship title and it certainly feels great to have it back in the house again.

End.

The Kickstarter campaign is still ongoing with additional information available from the Cheapass Games official website

[sameroomgaming]

Play as the horror movie victim in new Kickstarter RPG

Local game developer and writer Preston Poland has announced the crowd-funding campaign for his latest roleplaying game, Horrors: The Scary Story RPG. Currently on Kickstarter, Horrors offers a tabletop gaming experience that focuses on “survival and discovery,” according to Poland. This is Poland’s third RPG project that he has brought to the backers of Kickstarter, with the first two dedicated to his science fiction setting The Robotic Age, which both succeeded in meeting their respective funding goals.

In Horrors, players take on the personas of the victims in classic horror movies. A killer, be it man or beast is stalking the participants, and players must rely on speed and wits to discover the villain’s weakness before it is too late. Game Masters use to book to aid the development of their very own monster, with gamers having to contend with situations like fumbled actions, or even jump scares. We sat down with Poland to learn a bit more about his game, and how it fits in with his previous work.

Same Room Gaming: What makes Horrors unique among other RPGs in similar genres?

Preston Poland: Most of the other games in the genre either let you play the monster or are focused on Lovecraftian mythos. Not many really focus on the horror movies we all watch and love. Although you can go more Lovecraft with it, Horrors is more about slashers and monsters. It's about being chased by someone with an axe or some recently awoken beast with a taste for blood.

SRG: Your previous RPG Kickstarter projects focused on science fiction settings, what prompted the change in setting? 

PP: My tastes have always been a bit eclectic, with my favorite books and movies coming from very different settings and genres. The Robotic Age (and its future supplements) scratch my sci-fi itch, so I decided to move on to horror. Plus, I think Sci-Fi and Horror have a lot of overlapping themes, like the fear of the inhuman and striving against the unknown.

SRG: For those who have played through some of your other RPG books, what rule deviations or systemic improvements does Horrors make? 

PP: Horrors is a lot less combat focused then my previous games. If you are trying to fight the monster then you either are all out of options or have figured out a way to kill it. The game is more about survival and discovery. It's about unraveling a mystery while desperately trying not to die. You're not Ash shotgunning deadites, you are the people who decide to vacation at a cabin in the woods.

SRG: Can you describe some of the most important aspects in successfully self-publishing your RPG's? 

PP: The hardest part about self-publishing is getting the attention of your future fans. You have to spread the word everywhere and hope people are interested. Of course the more original your game is, either in mechanics or in setting, the more interested people will be. People loved The Robotic Age because, besides being fun to play, it's one of the few games where people can play as battle androids, and I hope to bring that same kind of originality with Horrors.

End.

For additional details make sure to visit the active Kickstarter page for Horrors, or the official website.

[sameroomgaming]

DIY gaming with the Cloud Dungeon

Andrew Miller is a man who wears many hats. Game development, writing, interviewing, graphic design, and entrepreneurial advice, are just some of the topics present on his various websites. On his blog Miller clearly explains to readers seeking professional advise that, “I’ve screwed up way more than I’ve succeeded, and will continue to fail, in many, many ways.” This sentiment however doesn’t seem to accurately describe the recent Kickstarter campaign for his D.I.Y. styled game the Cloud Dungeon.

With just a couple of days to go, the community has showed their excitement with the unique idea by contributing over $22,000, obliterating the modest $2000 goal. The Cloud Dungeon is a book, which converts itself into a paper-craft RPG experience for all ages. Players cut out pages to build and color their characters, assemble gear, and play through campaigns designed to last a couple hours at most. Once the sessions are complete, players can simply print out new sheets and repeat the process some other time.

Miller hopes not only for his own success, but hopes this style of single-serving game will catch on and spread. To this effort, his Kickstarter page and video explains that all of the tools that went into the creation of his game book will be released to the public, to modify and alter at their whim. Thankfully, Miller offered to sit down and explain a bit more about what drives him as a designer, and what a game project like the Cloud Dungeon could mean for the industry as a whole.

SRG: This isn't your first paper-craft game project, you seem to have several well into development on your website. What made The Cloud Dungeon stand out to encourage you to pursue the crowd-funding campaign? 

AM: I tell the story in my Kickstarter video, but I'll repeat it here: I was working on a bunch of different projects, The Cloud Dungeon being one of them, and I gave the game to a friend to test. He brought it to the hospital to play with his daughter, who had just undergone a major surgery, and he sent me an e-mail telling me how meaningful the creative story he and his daughter had created was to them in that time of pain and difficulty. This was a lightning bolt: their experience with my game was really meaningful, in a way that none of my other games had been. This was confirmed with more play testing: I had the seed of a really special game, and I knew that I needed to nurture the idea into a more polished product that I could share with everyone who wanted to make a story together with their loved ones. Games have power to ease the inevitable painful moments in life for a little while, and that's one of the primary reasons I make games.

Same Room Gaming: Why do you think players haven't seen more single use gaming experiences like what is presented in The Cloud Dungeon?

Andrew Miller: First, I want to make clear that The Cloud Dungeon can be played over and over again, I include printable digital files so for a few pennies, you can print out the pages you cut up and replay the game. 

Wait...why did I feel compelled to point that out? We gladly pay $15 per person for a night at the movies that is a one-time experience. Why wouldn't we pay $15 for a game night for everyone? It's because games have a long history of valuing "replayability", or replay value, over almost everything else.

This is probably because games have been historically made for young people, who have more time than money, and want their dollars to provide as many hours of play as possible – that's why Pokémon was so great, you know? I loved Pokémon, because for the $30 that I scrimped and saved for months, I got hundreds of hours of play time, and I didn't care that a bunch of the game play was monotonous. It was the best! We don't see more single-use gaming because of this long tradition of making repayable experiences.

As we all get older (and the gaming population is getting older, and more diverse!), we tend to have more money than we have time – so what happens? We buy more games than we have time to play. I already have too many board games – when I play games, I'm usually playing prototypes, or one of 4-5 standbys. My video game library: same problem! Too many games, too little time. I don't need more infinitely repayable games. I love games, and replay value is fine, but it's no longer the make-or-break value in a game. I tend to play games that respect my time, and give me a good experience, regardless of replay value. 

As a busy adult, husband and father, I would be glad to pay for a one-time experience that's really good, and that I could throw away without guilt. This is the experience I'm trying to make. You can replay The Cloud Dungeon, and it will be fun again and again, but you don't have to. You can play it once, and call it good.

SRG: What originally sparked the idea that lead to the creation of your game? 

AM: It's been well-documented that creative constraints make you more creative, and allow you to think of things in a new way. My creative constraint came about in a very natural way: as a formally trained graphic designer, I had the skills to make a book, and had made several in the past. I wanted to make a game, so I challenged myself to make a book that turned into an amazing gaming experience.

Then I chose the two edges of game design that I wanted to push: the joy of creativity, and destructibility. The idea of destructibility was influenced by Risk Legacy, which first introduced me to the idea that you could permanently change the game as it is played. 

SRG: Is there any concern that the ability to print out the game will affect your overall sales going forward? How are you working around this problem? 

AM: I don't see it as a problem. In fact, I encourage people to print out the game and give it to the people they love. I encourage sharing the Print-and-Play. I'm too excited about sharing this idea with everyone to be worried about a lost sale or two. 

SRG: What are your hopes for the future of this style of DIY game design? 

AM: I hope to push games into unexplored territory. There are so many opportunities for innovation in game design today, especially with the manufacturing and fulfillment aspects becoming easier than ever to handle. The Cloud Dungeon is the first step into games driven by the joy of creativity, and the tension of permanence. I intend to see how far down that particular path I can push my games! 

Of course, I also designed the format to be easy to replicate, because innovation isn't just driven from game designers, but also people who love games, and want to expand them. This is why I'm releasing every tool/template/font/icon that I used to make the Cloud Dungeon, because I want it to be easy for people to mod and reinvent my game. It's an easily printable game, so it's an easily modable game – and I know that moders will be more wildly innovative both in scale and depth of creativity than I could ever hope to be on my own.

End.

Miller can be found regularly posting to his personal blog Andhedrew.com, or posting interviews he conducts with game developers on gaming focused website Andhegames.com. Those hoping to secure a copy of the Cloud Dungeon, can still select one of the many reward tiers on the official Kickstarter page.

[sameroomgaming]

Arkham Horror creator offers advice on successfully managing a game design career

Players interested in games based around the Cthulhu mythos of H.P. Lovecraft have probably heard of game designer Richard Launius. If not, then they have probably at least played or heard of one of his most iconic games and franchises, Arkham Horror. The Arkham Horror universe has spawned several expansions and spinoffs that include the card game Elder Sign, and the story centric board game Mansions of Madness. While Arkham Horror may represent some of Launius’ most well-known work, the veteran game designer has been in the business for decades, and has much to show for it.

Responsible for the operations of his own business, King Richard Games, Launius has absorbed a great deal of information pertaining to the games industry in his career. Now a full-time game designer, Launius spent many years in executive positions directing the technological management of companies like BellSouth, AT&T, and The Berry Company. These roles seemed to help build the professional skillset needed to turn his passion for gaming into a successful career. Thankfully for the gaming industry, he is also known to be extremely gracious and friendly to gamers of all types. Launius even donated some of his precious free time to answer a few questions about making game design sustainable, and how he has seen the industry change over the years.

Same Room Gaming: Besides being a successful game designer, you are also President and Owner of King Richard Games. What does this side of your professional life really entail in terms of your day-to-day responsibilities and activities?

Richard Launius: The good news about being the President and Owner of King Richard Games is that I never have any personnel issues to deal with. Of course I do not have any sick days, or help when projects run behind, or holidays for that matter – so it has pros and cons. The main thing I have to do is deliver on the projects that I take along with selling designs that I start on my own. Like any self-employed occupation, you have to make sure you are maintaining relationships with the companies and people you do business with, deliver top quality work, and manage the budget and financial aspect of the company. The thing is that I have to do everything since there are no employees, that means design, graphics for prototypes, go to the Post Office to mail designs, talk with the companies, make my travel arrangements for conventions, answer questions about my games on BGG (BoardGameGeek.com), and schedule future projects. It is fun, but most of the time I work 10 hours or more a day, and usually 6 days a week minimum.

SRG: How important would you consider the "business" side of game development to be? Is it all simply about having a good, well tested, nice looking game? What would your best "business" advice be to amateur game designers?

RL: I think you have to consider the business side unless you are designing simply as a hobby. If someone intends to be a full time designer, they need to understand the shifting trends in the market and what the consumers want as well as a good understanding of the game companies and the types of games they publish. Understanding both of these key market issues is essential in presenting the right deigns to the right companies, making sure you have considered the production cost related to the project, the likely print run, and in turn a good idea of the revenue the game should bring to you in return. I focus more on the portfolio of the publishers to make my presentations than the other aspects, but if I were younger and just getting started in the business I would be much more attuned to the industry trends and designing for mass market.

As far as the best advice I can give to amateur game designers is to be flexible in your designs and continue to make changes, even major changes, as you playtest to ensure that the game is not just good, but great. Watch the players and listen, find ways to add to the game to make it more fun, and have greater depth of play. Good is the enemy of great, and too many games get published these days, mostly on Kickstarter, by being a good game. With hundreds of games publishing monthly, a good game can just get lost in the crowd. While that will occasionally happen with a great game, it is far less likely.

SRG: You've been involved with board games either by playing or designing them for nearly 40 years and have seen the game development industry evolve during that time. What are your most significant observations about how this industry and the players have changed during the time you've been involved? Where do you predict we'll be in another 10 years?

RL: I designed Arkham Horror in the early 80’s which was first published by Chaosium and then later by Fantasy Flight Games, so I have been at it for quite some time. Back in the 80’s there were maybe 15 – 20 games published each year in the hobby industry and most were War Games, and now hundreds of games are published each month. Over the years, and especially the last 5 years, the industry has grown significantly, fueled primarily by the desktop publishing capabilities at our fingertips today (when I designed the original Arkham Horror all the art was hand drawn and the cards typed on a typewriter), social media for funding and marketing, and many printing and publishing options. Couple these technology capabilities with a growing world-wide consumer base and the industry is very strong.

Like all changing businesses and markets, these things can be a benefit for people that know how to adapt and change to take advantage of this growing industry, or a hindrance to those that do not. The hobby and the market is growing at a rapid pace, enabling those of us that love games to play more of the type we enjoy than ever before. It is an exciting time that presents a vast array of opportunities to those that are keen enough to see them and bold enough to pursue them.

As far as the future, I think it will be more of the same. I do believe electronic gaming will continue to advance, but the printed games will never cease to be heart of the industry, at least in my lifetime. There is just something about holding the cards, rolling the dice, stacking the tokens, and all manner of activities with physical games that I think the players will continue to want along with the face to face interaction.

SRG: What is your favorite aspect of these changes? Are there any you are particularly disappointed in, or wish maybe hadn't developed? 

RL: For me it is the desktop publishing capabilities that I like most. They make my job easier, and fuel the industry toward even quicker publication times. I am not really disappointed in anything, but one trend that I do not think is good would be some of the social media that enables some individuals to be extremely rude to designers, publishers, and even gamers. If you do not like a game, fine – do not play it. But at times the criticism goes way over the line with some folks that post. Sure, I support the idea that the good news about the internet is that everyone has a voice, and the bad news about the internet is that everyone a voice. It is my hope that people begin to use the same social courtesy online that they would in person. In other words, use the voice in a responsible and respectful way.

SRG: Your Arkham Horror games have crossover characters in games like Mansions of Madness, and Elder Sign. If you were actually placed in the universe of these games and forced to fight off the horrors of the elder gods as the characters you've developed, which one would you chose to embody, and why? 

RL: That is an easy question – Joe Diamond. He was the first character I ever created for Arkham Horror, and continues to be my favorite. He is the tough as nails private investigator that never gives up even when he sees he is over his head.  He is the practical guy in a supernatural situation that should send him running for the hills. He is committed to the job and will stay and use his investigative skill, as well as his weapon when required, to complete it even though this mystery is far more than he bargained for. In other words, he just keeps moving forward through hell and high water to whatever is at the end – focused on completing the job. That is a trait I very closely share with Joe Diamond and my career and life have been all the better for it.

End.

Launius maintains an active presence on BoardGameGeek.com, and can be seen at many gaming conventions each year.

[sameroomgaming]

Educational gaming takes a unique approach in Science Ninjas: Valence

Building a successful educational game is no small feat. Not only do projects run into all the same problems of a traditional game developer, but if they care about the topic they want to educate participants on, the game must be fun while being informative. Luckily, the creators of Science Ninjas: Valence have multiple PhDs, experience in higher education, and a successfully funded Kickstarter between them, to help make their goal achievable.

Science Ninjas: Valence is a card game designed for gamers age 8 and up, where players compete against each other using chemistry based elemental ninjas. Each individual ninja represents a different point on the periodic table, and comes with various properties. These are used and combined to create molecules, which react with other molecules on the board to perform powerful attacks, or other beneficial actions. Using simple math, color coordinating mechanics, and illustrations by New York Time’s bestselling cartoonist, Nathan Schreiber, players must acquire the most molecule points to win the game.

The educational work of Science Ninjas goes farther than just the card game, as developers Schreiber, Dr. Amanda Simson, and Dr. Naomi Klinghoffer host science and chemistry workshops for schools, summer camps, and even birthday parties. These activities are designed to not only entertain, but also get children interested in the world around them through science. In fact this isn’t even the first appearance of the Science Ninjas, as Schreiber created them originally for an educational comic series. We sat down with Schreiber to learn the origins of Science Ninjas, and what some of the future plans may be for him and his colleagues.

Same Room Gaming: Science Ninjas extends beyond just the card game presented on Kickstarter, but also includes comics, and your own live science demonstrations. How did this all begin?

Nathan Schreiber: I was reading a lot of Kishimoto’s Naruto back in 2011, so I was thinking a lot about ninjas. I just wondered what a ninja would look like in a lab coat. That sounds pretty stupid! But I come up with lots of ideas, and the dumb ones crumble apart when you turn them around in your head a few times. Science Ninjas was different. It kept getting stronger, especially when I saw it as more than a story or a comic, but as something that could help kids learn.

SRG: You've been recognized as a New York Times Bestselling cartoonist and state that Science Ninjas is your proudest accomplishment so far. What makes you say this? What do you find gratifying about this particular project?

NS: There are so many reasons. First, kids love it, and that’s so satisfying because they will let you know when they don’t like something. And, at the risk of sounding corny, I feel like I’m doing good work, giving kids at least a few tools to get interested in science so they can fix some of the messes our generation has made for them.

SRG: The Kickstarter campaign explains how this game has been thoroughly tested on kids, as it is designed for them to help build on their knowledge of science. How do older players enjoy the game?

NS: We’ve tested it with kids, but the first people I played with were my friends. And they love it for all the reasons kids love it - you build molecules, you attack your opponents, and there’s strategy. And adults love to learn chemistry too! I’ve noticed some adults who were intimidated by chemistry in high school, and then they have this demystifying moment after playing the game when they realize it’s not as hard as they imagined. It’s really gratifying.

SRG: Do you think we'll see other games from you either educational or otherwise in the future? Could they be about subjects other than science?

NS: You’ll definitely see more games but they will almost certainly be focused on science! I’m already talking with Amanda and Naomi - my partners in Science Ninjas - about the next version of Valence. And after that? Maybe a game about energy, or space, or biology. Who knows? There’s a lot of possibilities with science.

End.

For a more detailed gameplay breakdown make sure to visit the project’s official Kickstarter campaign, or read the comic series at Scienceninjas.net.

[sameroomgaming]

Give iconic gaming pieces a squeeze with the Meepillow

Sometimes simply talking to someone is enough to realize how passionate they are about something. Listening to William Faust, owner of Top Shelf Fun, talk about why he decided to get professionally involved in the gaming industry, gives the clear impression that he loves gaming. Starting with his active Kickstarter campaign for the Meepillow, Faust hopes to transform his affection for games into a company that can launch his career, and offer up something to the gaming community at large.

Faust’s Meepillows come in several colors, and share the same shape as the small game pieces found in many modern board games called “meeples.” This is the first of what Top Shelf Games hopes to be a number of different plush based products. Backers have already helped the campaign exceed their original funding goal by over 200%, with just over a week left remaining in the Kickstarter. Faust was more than happy to share his personal geek levels when we sat down and spoke with him about his current project, and future goals.

Same Room Gaming: This project is supposed to lay the foundation of your company which will presumably go on to create other tabletop themed items. If Meepillows fulfill your hopes, what sorts of other products could supporters potentially expect from Top Shelf Fun?

William Faust: Meepillows will definitely be my flagship product as I build this new brand. The obvious answer is that I would like to expand the color selection. Colors like orange, pink, and white are often requested, but I would love to try something different like plaids as well! A more interesting answer is that I would love to go even bigger if possible. The current Meepillow is 15" tall, but could you imagine relaxing on a Meepillow the size of a bean bag? It all comes down to costs though. And I learned a lot from this Kickstarter and that shipping costs can make or break a project. I will just have to stay diligent and find better and more efficient ways to make these products a reality!

A far more personal reason is that I have been working on numerous board and card game ideas for years. I would love to finally be in a position where I can publish them. I have prototypes for some, others I'm working out in my head, while plenty are just fleeting thoughts like tears in rain.

Finally, I have some additional board game themed plush ideas that I can't speak about at the moment. I know teasers like that are fist-shakingly annoying, but now that I am a business owner I feel like I need to get them out of my system! Even with all that I want to accomplish, I will always remember none of this would be possible without the support of the board game community through Kickstarter.

SRG: Why did you choose Meepillows as your introductory project to begin this business? How did you and your team decide on going forward with Meepillows?

WF: Sometimes I try to put the cart before the horse. What this means is about a year ago I started taking classes, getting loan information, writing a business plan and put an obscene amount of time and energy into opening the first board game cafe in Philadelphia. Then I realized that the scope I had envisioned was far beyond the reality of the situation (the money situation). I made the hard decision to take a couple steps back and start smaller. I realized that I need to build up to that point in smaller, and more realistic increments. So, I started with an idea I had that I felt would make a good first step - the Meepillow! I thought if I could get this off the ground first, I could build and reinvest. Build and reinvest. Eventually one day I would be at a point where I could open a board game cafe on my own. I would be able to move my company into Phase 2 - similar to the Marvel cinematic universe strategy.

SRG: What was the best geeky themed piece of memorabilia you've ever bought or received?

WF: I would like to say that is easy, but you're talking to a human being that had a collection of over 1500 unopened action figures at one point. I've since gotten help and channeled my energy into board games, but at least I get to open them and play with them. I still have a small, yet respectable collection of action figures, but at some point you need to trim it down before you create a fire hazard.

For my wedding my best friends Rob and Maggie (who are the stars of the Meepillow Kickstarter video) surprised me with actual plane wreckage from the TV show Lost that they won at auction. I was stunned. We are all huge fans of the show and they bought it for us as a wedding gift. I have to imagine that is one of the most unique wedding presents ever given. So, it gloriously sits aloft my bookcase that is filled with a Dharma bus-sized amount of Lost memorabilia.

SRG: What drove you to the gaming industry in this particular capacity?

WF: Oddly enough, I've been working in the video game industry for over 15 years. I work for a video game distributor that wholesales video game software, hardware and accessories to video game stores nationwide. Of course, I elbowed my way into bringing board game products in as well! But, I have always been a gamer since my first video game system, the Odyssey 2. That's way back when I was a kid and thought KC Munchkin was the pinnacle of graphics and storytelling.

From then I was hooked and always had to have the newest system. I've played more video games than I can even remember over the years and have the reflexes to prove it. But when I went to college I started experimenting with CCG. For me it was a little different - CCG came in the form of a Customizable Card Game from Decipher called the Star Wars. From there it was a VERY slippery slope down the rabbit hole into my current board game collection of over 400 games. So, as my love of board games grew, so did my desire to be a part of the industry beyond a consumer. As I stated in my Kickstarter I truly believe that this hobby has made me a better person and I have met some of the nicest, coolest, friendliest people you could ever hope to know. Why would anyone not want to be a part of it?

SRG: It seems like many members of your company are close friends and family, what has it been like to have their support while you start up this company?

WF: Currently, I am the only actual member of Top Shelf Fun, but my wife and friends have donated a lot of their time and talents to help make my company successful. It's cliché to say, but I truly couldn't have done it without them. Forget everything they did that is tangible and you can touch and see - which is a lot. But all the love and support from the very beginning was unquestionable. I said, "I want to start my own company and try to make my own way in life." They all immediately said, "Do it! How can I help?"

It doesn't get much better than that.

End.

The Meepillow campaign is still active, with additional information, sizing details, and shipping costs outlined on the Kickstarter page.

[sameroomgaming]

Cultists of Cthulhu successfully returns to Kickstarter

Back in 2014 indie game designer Thomas Eliot attempted to fund his second game project on Kickstarter titled Cultists of Cthulhu, but was ultimately unsuccessful. Perhaps he was hoping to capitalize on the success and reputation of his first title, Professor Pugnacious, but was forced back to the drawing board to re-evaluate his approach to the ambitious board game. More than a year later Eliot returned to Kickstarter, and can now relax knowing he achieved the project’s funding goals, with time to spare.

Cultists of Cthulhu is designed for 3-6 players who participate in a semi-cooperative game, as they attempt to survive the horrors that roam the halls of the Miskatonic University. Most will play as an Academic who will investigate the destruction of the Elder Sign, a powerful seal that held back the eldritch horrors that would invade the world. However, in every group one person will secretly play as a Cultist, who hopes and schemes to usher in an era of madness and destruction. Players select their characters, choose a scenario, and use the map tiles to build one of billions of different possible combinations. Events both good and bad, items, and monsters will be uncovered as explorers open each new door. We had the opportunity to sit down with Eliot to learn a little bit more about his studio, Sixpense Games, and hear how he modified his approach to help ensure players could eventually experience, Cultists of Cthulhu.

Same Room Gaming: Tell me a little bit about how Sixpence Games got started. How did you meet your fellow team members?  Thomas Eliot: Growing up, I didn't know anybody who had started their own business. After college I moved to Berkeley, and all of a sudden half the people I knew had started one or more businesses! I was inspired: what could I make that people would pay money for, that I'm good at, and that I'm passionate about? The answer, of course, is games. I met the artist for Professor Pugnacious, Andrea Renaisse, through a mutual friend when I started asking around for good artists. I met the artist for Cultists of Cthulhu, Joshua Wright, when he gave me his card at a Professor Pugnacious demo. I met my cofounder and now wife Allison Eliot and the musician (yes, our games come with music!) Brent Hengeveld at university. SRG: You explain on your website that it wasn't until very recently that you realized you could fulfill your dream of becoming a game designer. What changed that helped you accomplish your dream? What had been holding you back? TE: I'm not actually sure where I said that, it's probably pretty outdated. I started doing this in the summer of 2012. I spent a year between graduating and working on games thinking "what sort of company should I start?" and being the personal butler to a retired Silicon Valley millionaire. SRG: How are you feeling about your career choice now that you have two successfully funded Kickstarter games? TE: Good! Anxious, but good. This isn't the only thing I do, but right now it's the most successful thing I'm doing, so I'm definitely concentrating my focus on the games thing. My plan is to use the momentum of a second successful, fairly large Kickstarter to be able to launch smaller Kickstarters for my smaller games, such as Venture Capital, a bidding game about startups, and possibly a decks of cards as well.

SRG: In a market flooded with Cthulhu inspired game ideas, what was your approach to Cultists of Cthulhu in order to stand out? TE: Design wise, I went in with a specific mechanical goal in mind and a specific emotional goal. I wanted players to feel distrust and tension, and to make interesting choices every turn. To achieve the former I used the Cultist mechanic, and for the latter I invented a specific ability check mechanic that forces you to make decisions between something bad happening to yourself and something bad happening to the group. On the Kickstarter page, I think one of the main things that makes this campaign unique is the sheer volume of positive reviews! Two full on video reviews and a half dozen positive quotes is pretty nice looking to me. SRG: Your original campaign for Cultists of Cthulhu was cancelled. What was the main cause for this? What did you learn, and how did you modify your approach to the re-launch?  TE: There were two main causes: the goal was too high, and I needed more outside social proof that Cultists was good, not just me presenting the rules and saying "trust me guys it's good." For the former, I did a lot of restructuring of what materials to use, whether to print the add-ons as a full print run or print on demand, all sorts of things, and I managed to get the goal down to half of what it was last time (which we raised last time). We're already past that, so I'm pretty happy there!  For the social proof question, mainly I got it in front of two established reviewers, Let's Level Up and Undead Viking, and got them both to review it openly and honestly, and they both loved it, much to my relief.

End.

For more information including in-depth reviews, the full rule set, and backer rewards make sure to visit the Cultists of Cthulhu Kickstarter page, or official website.

[sameroomgaming]

Become the ruler of the internet in CatTube Famous

A pair of game designers have done the unthinkable. Free time may soon be a thing of the past now that Josh Harvey and Liam Alkamraikhi, have gone and fused the fun of tabletop games with the addictive properties of cat videos. Their project, CatTube Famous is currently on Kickstarter, and must surely be a sign of the end times in at least one culture.

CatTube Famous is a card game designed for 2-6 players where participants try and capitalize on global cat video trends, to produce videos that will garner the most followers online. Those who are best able to match up their cat video cards with that round’s trends will gain more internet favor and walk away victorious. We had a chat with Harvey to learn more about how this project came to be, and find out how much of his research and development time consisted of watching cat videos.

Same Room Gaming: What games have you and Liam worked on prior to CatTube Famous?

Josh Harvey: We've previously worked on minor games at game jams, including a giant robot fighting game for PC and Liam had minor input into my 2014 Global Game Jam game, a collectible card game prototype using dice as a mana mechanic. Separately we've worked on multiple games mostly in the digital space, but this is our first full collaboration.

SRG: Is this your first Kickstarter project? What kind of work went into the campaign before it was launched to help ensure it was successful? 

JH: This is our first Kickstarter project. We'd done a large amount of research on Stonemaier Games's Kickstarter resource which was a great help for the specifics on running a board game Kickstarter. I was previously working in a co-working space dedicated to game development called The Aracade. I was looking into Kickstarter for a project he was working on and working next to Armello with their preparation for their Kickstarter project too. We're also both in the local game development community so have heard many different experiences, opinions, and advice on Kickstarter.

SRG: Why did you decide to create this game in particular? What drew you to this project?

JH: Originally inspired by the mention of Gentleman Cat Fanciers on The Comedy Button podcast. CatTube Famous was positively received from the start. The theme of cat videos on CatTube is something that has a wide appeal. It was also something that was relatively cheap for us to produce which was great for getting funded so quickly and getting a game complete.

SRG: This might be one of the most productive ways to turn watching cat videos into potential research material. How many hours of cat videos do you think you've accumulated at this point? 

JH: Lots. We spent a couple of nights watching videos just listing all the ideas and then sorting them into what trends they fit. It's probably not as many hours as you'd think, but it's definitely a lot! Liam's favorite cat video is stereo skifcha by Denis Borisovich and I think there are too many to choose from!

End.

Players wanting to get lost in the cuteness of cats on CatTube Famous, should probably check out the Kickstarter campaign and the official website.

[sameroomgaming]

Explore America from home with Trekking the National Parks

Independent game developer Charlie Bink and his family are no strangers to adventure. In fact, Charlie’s mother and father boast visits to 47 of the 59 National Parks of the United States. In an effort to commemorate his family’s achievements, honor the parks themselves, and perhaps capture a bit of his childhood, Charlie created the family board game Trekking the National Parks.

In Trekking the National Parks, 2-6 players compete to see who can collect the most points as they race across America. Players collect points by claiming park cards, and gathering colored stones for being the first players to travel a specific route. The final round is triggered once all the stones have been claimed, or the last park card has been revealed.

Charlie was especially sensitive to keeping the game authentic and domestic with most of the photography coming from shots taken by his family visiting the parks themselves. The game was also completely manufactured in the United States, and even comes with a guide that describes the individual parks in greater detail. We sat down with Charlie to learn some more about this very personal project, and about what his future as a game developer may look like. 

Same Room Gaming: Trekking the National Parks seems to catalog some of your family's personal adventures. Have you taken a trip to all of the locations present in the game?

Charlie Bink: My family has been visiting the parks my whole life. A few years back my parents decided to try to visit all 59 National Parks. As of today, they have visited 47 of them!  I've personally been to 10 of the parks, but I plan to see many more. Trekking was inspired by our love for the parks and my personal love for creating games.

SRG: While you seem very used to adventures in nature, developing a commercial board game is an entirely different kind of journey. How did you enjoy it? What was the most challenging aspect?

CB: I loved it. I'm not going to lie though, there were a lot of challenges. The first challenge was designing a prototype game, which took almost of year of iterations. Once we nailed down the game we wanted to make, it was up to me to create all the art and card designs. The photography in the game is mostly my dad's, who has been collecting tons of great images from visiting the parks over the years. The hardest part of the process was getting the game manufactured.

Most games are created overseas, but we decided that since this game was about the National Parks, we would rather make it here in the USA. We worked with several major American manufacturing companies to have all the components in the game built. Kickstarter was how we were initially able to fund the game, and that in itself was a HUGE undertaking...but well worth it! 

SRG: You describe this project as your family’s legacy to celebrate the National Parks, why are the parks so important to you and your family?

CB: The parks represent the wild in all of us. They provide us with a reprieve from the hectic pace of city life where we can all slow down and shed stress. The parks are a place to go and experience the quiet and beauty of nature.

SRG: How does your game support our national parks? What can others do to best show their support? 

CB: I really wanted to spark people’s nostalgia about the National Parks. The parks need to be celebrated, and a board game is a great way to do it! Families and friends can play together and have a great time reminiscing about past adventures, and maybe even plan some future ones. The game also comes with a detailed Park Guide Book, which is packed with educational info about all the parks.

As for others, the best way to show support is to simply visit the parks. Or better yet, take someone who has never been to a park and spread the love.

SRG: Now that Trekking the National Parks is completed, do you believe you'll work on any more games? If so, what kind?

CB: I'm working on a bunch of new family board and card games that are still in the testing phase...so stay tuned! I've also started dipping my toes into building apps for mobile users.

End.

For additional rule explanations or to purchase a copy of Trekking the National Parks, make sure to visit the game’s official website.

[sameroomgaming]

Designer Matt Leacock finds his cure to the 9-to-5 grind

Matt Leacock is a veteran game designer responsible for the creation of popular-family friendly games like Pandemic, Forbidden Island and Desert, and Roll Through the Ages. The former digital user experience designer is currently working on a couple new projects including, the much anticipated Pandemic Legacy and the Kickstarter success Thunderbirds. This story however is less about the games Leacock is known for, and more about the man behind the designs.

It is sometimes hard to imagine that games which become household favorites may have previously been around a lot longer than people imagine. Leacock’s most famous game, Pandemic, was originally released in 2007, and it wasn’t until 6 years later that he could even consider tackling game design as a sustainable full-time career. We sat down with Leacock, and was fortunate enough to get a little look into what drives the creator of several award winning cooperative tabletop experiences.

Same Room Gaming: Despite the critical and fan favor most of your games have received, you've only recently taken game development up as a full time job correct? Why is that?

Matt Leacock: For starters, it’s difficult to make a living off board games, especially when you’re living in the middle of Silicon Valley. The idea of going full time didn’t really occur to me until 2013 which saw a rise in the popularity of the Pandemic and Forbidden games. At this time I also started to have more and more game-related demands on my time and couldn’t figure out how I’d be able to design both Thunderbirds and Pandemic Legacy while holding down a full time job. In July 2014 I made the leap and haven’t looked back since. 

SRG: Looking back on your life and expectations of game design before Pandemic or Roll Through the Ages: The Bronze Age, did you ever think you'd be where you are today? How does this reality make you feel?

ML: No, I never thought I’d realistically be able to make a living designing games. I’m really fortunate that I can make a living doing what has been a passion of mine since I was a kid. Loving it so far.

SRG: Before all the games that won international hits and awards, what was your favorite game that you designed or helped design? 

ML: I worked and pitched a game called Ants at the same time as Pandemic, but never really finished it. It was an early worker-placement game where players could breed new worker, soldier, and queen ants in underground nests, and then send them out foraging. I dust it off about every two years or so to see if I can make it work. If the number of iterations is any measure of “favorite” then Ants is the clear winner.

SRG: Why did you start making games in the first place? What is it that makes you want to continue making more in the future?

ML: I started making games as a kid with my uncle. We were often disappointed with the quality of the games we played back then and wanted more from them. I remember creating an asteroid mining game with him on the back of a truly terrible board game based on Space Invaders. We’d re-use components and grab other random bits to make our games work. I kept designing through high school, college, and then as a hobby alongside my full time work. I trained as a graphic designer and later worked as a visual interface, user interface, and then experience designer. Designing games isn’t really any different from experience design, so my career path lead me here in a sense.

I love so much about the field: it’s easy to make board game prototypes and iterating can be as simple as ripping something up and drawing out a new component on a scrap of paper. It’s direct: you can see the results of your labor right away. I love the community-both bringing people together around a table and meeting new people at conventions.

SRG: If you could no longer create games anymore, what would you be doing instead?

ML: I’d likely find another job in user experience. I worked for Apple, Netscape, Yahoo!, and a startup called Sococo and enjoyed it quite a bit. But it’d be tough to give up the flexibility and autonomy I now enjoy.

End

Those interested is seeing a complete list of Leacock’s commercial tabletop games should visit his official website, where he also regularly posts suggestions and advice for other game designers.

[sameroomgaming]

Destroy a world together in Downfall

Imagine a game where you destroy the world. It probably isn’t that hard, the world comes under threat pretty regularly in games of all types. Game designer Caroline Hobbs made a similar observation, and decided to put her own unique twist on the concept with a project she named, Downfall. Currently on Kickstarter, Hobbs describes Downfall as a “story game,” where players work together to create a world, and then decide how it will be torn apart. 

Downfall is a non-traditional role-playing game where dice, game masters, and pre-knowledge of a system are not required. Players work together to create a world of any kind, doesn’t matter the genre or time-period. This world will then have a critical Flaw, be it greed, hypochondria, violence, this aspect is the central component of how society will crumble. How detailed the setting is can heavily depend on the group playing, but it is simply the backdrop as players take turns role-playing three main characters.

With the stage set, players will then create and wear the mantle of The Hero (protagonist), The Fallen (antagonist), and The Pillar (the average person). The game consists of each player taking a turn playing these archetypes, and offering challenges to the other characters through a communal storytelling experience. Games will typically last 2-4 hours, and generally end when the Hero’s hometown has finally been destroyed.

This isn’t the first storytelling game that Hobbs has created under her studio name Less Than Three Games. Her first release, One Missed Call, is a game about loved ones dealing with separation, and is available on her website free of charge. Intrigued by this unique story driven style, and the success of her Kickstarter, we sat down with Hobbs to learn more about her passion for narrative driven game design.  

Same Room Gaming: Downfall focuses heavily on creative storytelling elements. What type of social environment or what kind of group would you think ideal to play a game like this? Why? 

Caroline Hobbs: Downfall is all about creativity. There's a nice balance between in-character and out-of-character narration in the game, so players who are comfortable with both will really enjoy the game. 

When I first started playing story games I thought, oh there's no way I can narrate all that beautiful out-of-character stuff, my GM is so good at it! But out of the many, many GM-less games I've played with strangers, I've found that if you hold that power out to people, they grab it and run with it. We are all full of stories. The key to storytelling-heavy games is to build off of the ideas of other players though active listening. The magic comes from connections between players.

SRG: What originally inspired the creation of Downfall?

CH: Downfall grew out of my love for world-building and antagonism-driven games. I love creating weird worlds with people when I game, and I wanted a system that made that happen. Likewise, I enjoy antagonizing other players’ characters. Being the force that pushes protagonists toward action or causes them to sacrifice their ideals is so much fun. A lot of the appeal in Downfall is that everyone gets to play the hero, but to me one of the most exciting parts is getting to share the villain. 

SRG: You focus on creating what you describe as "story games," what do you mean by this exactly, and why have you chosen this particular game type? 

CH: To me a story game is about sharing narrative authority above and beyond the character level—in a story game everybody makes the fiction together, collaboration is key. I design games that push players toward collaborative creativity because that’s how I like to play. Connecting my ideas with the ideas of everyone else at the table is amazing, and when I design games my hope is to enable those connections in ways that provide fun and engaging play experiences.

SRG: The overall concept of the game seems somewhat solemn and morose, is it meant to be that way and provide a more creative and thoughtful game experience? Or in your play testing experiences do just as many people come up with more lighthearted scenarios, as those who take it more seriously?

CH: It's meant to be a serious game, but that doesn't mean it isn't fun. There's a lot of drama that happens at the end of the world. I'd say it's a thoughtful game, but certainly not a downer. People get really into breaking the world. I've had one silly game, but I think that might have been more about the beer we were drinking than the mechanics.

SRG: While I'm sure you've seen many worlds created while developing this project, can you describe an occasion where one in particular really interested you? 

CH: Oh they've all been amazing and so different. I leave every game in awe of how creative people are. My most recent game was set in the near-future. We were basically a modern American city with Greed turned up extra high. Our characters were all wealthy elites in a highly stratified society. The last scene of the game showed the hero being airlifted from a burning high-rise, looking down and knowing that he shared the blame as the riots in the streets reached a maddening high. We felt really bad for this guy, who sort of got overwhelmed by this world that really reflects our own. I think that’s part of the beauty of Downfall: the game sets you up to build a world you care about, which makes its demise that much more poignant and meaningful.

End.

For additional information and gameplay details, make sure to visit the Kickstarter campaign page, or the official website.

[sameroomgaming]

Local gaming magazine enters fourth year by announcing Kickstarter

Arizona headquartered gaming magazine Casual Game Insider, has recently announced their fourth Kickstarter campaign to help fund the next years’ worth of publications. Editor-in-Chief Chris James along with his wife Melanie James, began the project back in 2012 when their first crowd funding campaign completed successfully. Since then the magazine has seemingly continued to grow with yearly Kickstarters, retailer support, and a dedicated readership.

Casual Game Insider is a quarterly publication that focuses on news, reviews, and articles specifically related to casual games. Readers ever wondering where the term “casual game” even came from, can find the explanation and history on the magazine’s official website. Since their first Kickstarter campaign, Chris, Melanie, and their dedicated team have released 12 complete volumes. The magazine has also managed to be distributed in over 300 Barnes and Nobles Bookstores, and thousands of game shops. Interested in learning more about this publication that started right here in Arizona, we sat down with Chris to hear about how this journey started, and get an idea of where it might be headed.

Same Room Gaming: Try and briefly explain all that goes into a single issue of your magazine. How much is actually involved in producing a publication like this?

Chris James: Each issue of Casual Game Insider requires lots of coordination with lots of different people. I think of my role as Editor-in-Chief as the maestro of an orchestra — I have the vision for how I want each issue to turn out, but I have to train, tweak, and fine tune all of the different players to ensure that everything comes together perfectly (and on schedule). There is so much that goes into each issue behind the scenes: author commitments, article outlines and rewrites, ad coordination and design, photography, printing contracts, relationships with distributors, etc. But when I finally receive the printed copy in hand as I envisioned it, it is a very rewarding experience to think of all that was accomplished to bring it about. It's really a lot of fun to be immersed in a topic that I am so passionate about — though sometimes I long to be playing the games that I am writing about.

SRG: How much added workload and production cost is created by having a print version of the magazine? Why is it important to you to have a print version available for readers?

CJ: The added workload of our print version is negligible, thanks to our distribution partners. However, the production cost is by far our biggest obstacle to overcome. In the magazine industry, publishers are ditching print left and right in favor of digital distribution. However, for us the print version is crucial. On one hand, we have many readers who prefer to read from a physical magazine over a screen. But even more importantly, our print version allows us to reach game stores and book store shelves, which is a crucial component of our services to our sponsors. We are committed to providing as much value as possible to our sponsors, because without them our funding would dry up.

SRG: This is now your fourth year and corresponding Kickstarter campaign. Are Kickstarter funds still a vital part of the financial stability of the magazine, or has getting your publication into book stores, newsstands, and thousands of game stores made a big enough impact?

CJ: Our annual Kickstarter campaigns are like the heartbeat of our magazine that was initially conceived on the same platform. We depend on the campaigns to pool together resources from our sponsors and subscribers, ensuring that we have the capital to continue to fulfill our commitments over the coming year. As I mentioned previously, the print version of our magazine is very costly — ultimately, it offers a means of discovery and marketability for our sponsors more than being self-sufficient on its own.

SRG: What does it feel like to be where you are today compared to your first year?

CJ: We have definitely come a long way. I feel like we know what we're doing now, where at the beginning we were just grasping at straws. This is true not only in the design of the magazine, but in editorial direction, as well. We are also better at mitigating risks when authors fall through on their commitments (which happens far more often than one might think).

As a jack of all trades with no formal graphic design experience, I personally designed the first 6 issues with some help from a pre-made template. Somehow, it was received well enough to maintain some traction. But bringing on Gregg Lewis, a professional designer, has greatly increased the visual appeal and has reduced my personal workload significantly. It was one of the best decisions we have made along the way. The direction of the magazine was a little cloudy at first, as we originally intended it as a resource primarily for retail stores — early issues contained posters and shelf labels to use as in-store promotional tools. We considered retailers to be the best venues to reach "casual gamers" — people like us who greatly appreciate lighter and more social games over heavier Euros and other genres. But as our message began resonating with lots of people just like us, we began to change directions into a consumer-focused magazine (which can still be of benefit to retailers to share with their customers). Looking back on all 12 issues to date, I gain a great deal of satisfaction knowing where we started and how far we've come.

SRG: Given enough resources and time, what is your ideal vision of the magazine or your organization as a whole?

CJ: We originally started Casual Game Revolution as an organization to encompass many different aspects of casual game promotion — currently, Casual Game Insider and our blog are the main focus. However, with enough time and money, why not organize a casual gaming convention? Start a network of podcasts and YouTube channels directed toward casual play? Provide complete coverage of more gaming conventions? These are all different ideas we have envisioned over the years — and who knows? They might just become a reality sooner than we think.

Those hoping to support the young magazine should visit the Kickstarter campaign page, where readers and retailers alike can find plenty of pricing, marketing, and advertising information. If crowd funding isn’t your thing, then subscription options are also available through the official website.

[sameroomgaming]

Final Countdown to Twistocity

Players who have been waiting for the opportunity to test their friend’s tongue twister prowess, may soon get their opportunity now that Kickstarter game Twistocity has been fully funded. Developed by Michael Kiely and Adam Oliveira with illustrations by Melvin De Voor, Twistocity is a 2 to 6 player game where participants take turns using wacky voices to perform original tongue twisters. With only a couple of days remaining, the campaign is still gathering backer contributions in an effort to hit stretch goals to unlock additional content.

The base game of Twistocity consists of 146 tongue twisters, 50 persona cards, 24 action cards, 10 blank cards, and the official rulebook. The original tongue twisters must be read in the voice of the persona card that players draw. Personas include classics like pirate, mafia member, rapper, and robot with plenty of unique character types to experience. Action cards add some additional gameplay variation, and can even force players to re-read their tongue twisters before they get to score them, or cause a player to re-do a previously scored twister in a new voice. The first player to 6 points is declared the winner.

Interested players can pledge $25 to secure a copy of the base game when released. A print-and-play version of the game will also be provided to pledges of $1 and above, giving players the chance to immediately start experimenting with the title upon the campaigns completion. For additional information, gameplay videos, and images make sure to visit the official Kickstarter campaign page, and Twistocity website.