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Hansa Teutonica

10 March 2010

I’ve been really digging board games lately as some of my last few posts can attest. Just when I’m getting sick and tired of the same old mechanics day in and day out from digital games, I discover this world with a lot of fresh ideas. It’s a new source of inspiration. One of the greatest games of all time is based on a board game. Add to that the results in digital form from Dungeons and Dragons and the entire genre of wargames and you pretty much have 80% of the video game market, but you haven’t scratched the surface of the board game market.

So I’ve been going to these New York City Boardgame Meetups to get my game on and learn about some new stuff. You’ll see more reports from me as time goes on based on these events.

Last night, I got to play two games:

The first was Hansa Teutonica. I don’t know why the Germans have a love affair with feudal daily minutiae but so many of their games seem to be based on merchants or trading or land disputes. This game is based on the former. After a long, complex rules briefing, we were into the game which (one you get over the heavy load of info up front) is really quite digestible.

Actually, this brings me to my first aside. On the player skills board is a summary of the five things a player can do on his turn:

BGG Image

See them there on the bottom? Tell me what they mean. You can’t. I can barely interpret the icons and I’ve played the game. If the purpose of the icons was to teach me what I can do, they clearly failed. If the icons serve to remind me what I can do, they have also failed.

They could have had a player card that said:

On your turn you can use an action to:
- Move cubes from your storage to your usable supply. (See bag for amount)
- Place a piece on a road.
- Displace an opponent’s piece from a road.
- Move pieces. (See book for amount.)
- Establish an office or use a special ability from a full road.

There you go. Now the game is about filling up roads to either increase the skills on your skill list (above image) or claim offices that gain you points. There are some fiddly rules about office ownership and scoring but that is pretty much it. There are five cities on the board with special abilities where instead of claiming an office, you can upgrade the skill on your skill list. These grant things like additional actions per turn, additional cities where one can set offices, the ability to move more pieces per trun, &c., These are useful and integral, which leads me to an issue.

The cities that have the special abilities are so important that the rest of the game seems less so. What is ostensibly a game about building a trade network quickly becomes a game to control the roads nearest these cities, especially the city that provides additional actions per turn. This isn’t an amazingly huge problem in our first game, but since there is next to no randomness in the game (there are randomly dealt special effect tiles, but that is it), it seems like every game is going to play out similarly as all the players battle for the special abilities cities.

The game board itself is ugly. If you don’t want your eyes to melt, don’t look at the image below. For some reason the artist decided that serif-y white text on a grey background was essentially readable. The board is unnecessarily busy and it distracts from the game and makes it seem harder than it is. Maybe that was the point.

BGG again

If I was redesigning the game, it would be re-themed and the board would be cleaner and clearer. I’d likely simplify the scoring system and make it so that the locations of the special cities moved and/or that there was some mechanic that stopped the game from focusing solely on those cities. Even though it is anathema to the hardest of the hardcore board game nerds, I would add some card mechanic or something more easily parsed than the current tile bonus system. That card mechanic could tie into the moving cities idea. The game needs the pruning shears badly. Mechanics need to be simplified, consolidated or let go.

On the plus side, it was easy to see your opponent’s tactical ideas. Play certainly didn’t seem to be randomly evolving. Since I could tell what they were going to do, I could plan for it. This is the strategic meat of the game and it is excellent. Because of this, the game moves quickly unless someone’s plans are foiled. And if that’s the case, something interesting probably happened so the interruption in game flow is not unwelcome (to use a double negative).

Overall, I had a great time. I had thought I won only to be eclipsed by three points in the final tally because I didn’t fully understand the eight-part scoring system. Again, either needlessly complex or simply presented poorly. I’ll play this again if folks bring it back as I am interested in how repeated plays hold up, but I probably wouldn’t buy it.

I tried so hard to get people to play Agricola with me so that I could play a cube pushing game that I knew, but I got railroaded into a game of Acquire. Never again. The less said the better, but Acquire is a lot of sitting around waiting for someone else to move and then a lot of counting the board and cross-referencing a card. I found it chaotic. It was tough to plan any kind of strategy at all with the board changing. The first player to be acquired seems to have a huge advantage if he plays it well since he will have more resources than anyone else for the longest time. I came in last because I just wanted the game to be over and the winner wasn’t really paying attention the whole game. Since it is an older game, I’m sure there is a lot of nostalgia around it. I still play Monopoly, but by today’s standards, it has similar issues.

Tobago and the P(Fun) All-Stars

4 March 2010

There’s an article on BoardGameNews talking about the good and the bad of Tobago, a new board game that makes people brain burn on set theory in a nice little island theme with some beautiful pieces. I bought Tobago sight unseen last month and have had the chance to play it twice. But this post isn’t so much about Tobago as it is about the Game Design Rule at the bottom of the article:

For myself, I simply mark down another game design rule: if you create a thoughtful mechanism, make sure it’s strategic too.

And that’s such a limiting hardcore game-nerd rule.

It reminds me of my time at EA when I would suggest features that I believed would make our games more interesting to play, but were vetoed down for what I think is the same reasoning. In my case, the objection would always be: “How does this affect gameplay? Does this raise your stats?” or something similar with the underlying suggestion that if it didn’t offer strategic advantage, it wasn’t worth a designer’s time.

Gameplay isn’t just who wins and loses, it is all the choices the players make and the results of those choices. But to the author of the article, and many of the people I previously worked with, gameplay is ONLY the choices and results that affect who wins and loses. Everything else is window dressing.

When you play Rock Band, do you choose which song you play based on how well you will do - which song will give you the highest score? No, you choose based on a number of factors that are an attempt to maximize p(fun). Not p(win). But hardcore gamers of all brands (cardboard and digital) like to make that equation: p(win) = p(fun). Therefore, to them, anything that doesn’t increase p(win) cannot increase p(fun). They smile at the quaint sentiment that you can have fun losing a game. Some may even believe that but only insofar as it provides lessons that increase p(win) for all subsequent games.

So what the above author is REALLY saying is: “If you create a thoughtful mechanism, make sure it is strategic too because I like strategic thinking because it can make me win.”

Tobago’s treasure elimination mechanic is fun to me not because it allows us to create solutions to puzzles that make us win, but because it allows us to formulate answers to puzzles that make the game space more interesting.

But to make a “game design rule” about what is fun to me would leave me with a narrow set of rules for a singular audience.

Thanks

3 March 2010

Few studios will ever tell you about what they did wrong. Few studios would write a thousand words on it. Fewer still have the guts to take something that doesn’t work and totally scrap it. Few studios are Valve.

Living Card Game

This is the first that I’ve heard the nomenclature of a “Living Card Game”, but it seems to me to improve on CCGs in every way, shape and form:

You have your customizable deck of cards that you make beforehand, before you play. It has the same type of strategy elements that you would find, the depth of play, in that every game plays out differently, the same strategy.

They differ in the fact that it’s not collectible. You know what you’re going to buy in the packages that you buy. You don’t have to chase cards to build decks. You can play with the cards that you want to play with.

Post-Dominion though, I’m not entirely sure the build-your-deck-before-the-game has much more in it.

Design Outside the Box

27 February 2010

Finally watched Jesse’s DICE speech. Amazing as always. Really inspirational and frightening. Especially to those trying to ride the Farmville wave. What he talks about is what I think Booyah Society was trying (unsuccessfully) to do.

Presentation Trumping Mechanics

26 February 2010

There’s an interview with the Game of Life (Hasbro) creator on about.com of all places. The game is pretty dull by most of my personal measures, but I had a copy in my youth and I’m sure most of you did too. (As an aside, I had changed the rules when I played to something more interesting and removed some of the crummy rules - I was a game designer back then too!) Anyway, it’s hard to argue with success. I think Cranium is cringingly awful too but it sells by the truckload so obviously I am missing something.

It’s something obvious to me that Life was his first game design:

However, James Shea, Sr., president of Milton Bradley asked me if I would develop a game in celebration of the 100th anniversary of the founding of the Milton Bradley Company. I immediately accepted this challenge.

But I think he is getting a little… aged when he says:

Klamer believes that The Game of Life has remained so popular for so long because it features “tremendous interaction between the players” and because players are faced with several important decisions as the game progresses.

It has nothing to do with Hasbro nee Milton Bradley’s long retailing arms combined with an attractive and colorful combination of packaging and components? I wouldn’t credit the game mechanics with its longevity, it is the theme and presentation combined with the business.

Would Life have been as popular if its presentation was as ugly and generic as Trivial Pursuit’s?


Image courtesy BoardGameGeek

It makes me think about what digital games are successful more based on their presentation and distribution than mechanics. Do we escape this in digital because the arc of evermore engaging graphics possibilities tarnishes titles quickly and thus nothing can reach the kind of “simple hollow classic” status like Life has been?

Tobago

25 February 2010

Rocked some solo Tobago last night. Can’t wait to play this with real people.

Crowded and Lonely

23 February 2010

Contrast this:

Pincus has acknowledged not being vigilant enough with the automated ads that appeared on Zynga games during the company’s early days.

With this:

So I funded the company myself but I did every horrible thing in the book to, just to get revenues right away. I mean we gave our users poker chips if they downloaded this zwinky toolbar which was like, I dont know, I downloaded it once and couldn’t get rid of it. *laughs* We did anything possible just to just get revenues so that we could grow and be a real business.

Zynga’s done the right thing since then and I’m having issue more with CNN’s reporting than anything. I have to give them their kudos for their huge success.

I just hate, hate, that they and everyone else uses the term “social gaming” for what is essentially a solitaire experience. WoW is a social game. Parking Wars is a social game. Actually, I’d call Parking Wars the definition of a social game. It can’t be played without your friends and the mechanics are based on the actions of those friends.

From the first link:

[Pincus]: “A great social game should be like a great cocktail party. If you want it to appeal to absolutely everyone you invite, it has to be broad in its content so that everyone gets it.”

If his cocktail parties are everyone sitting by themselves while occasionally getting their friends a drink or a snack, I probably don’t want to go to his cocktail parties.

Facebook games don’t all need to have Parking Wars levels of social engineering, but “social gaming” is awful (and almost ironic) nomenclature for the genre.

Villagers Sleep

22 February 2010

Article in Wired about the best party game of all time, Mafia (or Werewolf):

If you want to play Werewolf well, you have to draw on a wide skill-set. First comes memory. It’s not always easy — particularly at 2am — to remember who accused whom and how everyone voted, but this is crucial for spotting patterns. And you need meticulous observational skills; note someone drumming their fingers or fiddling with their collar, and you have the “evidence” to back up whatever theory you’re selling. Then there are concrete observational cues — who’s making eye contact with whom? Has somebody slipped up by saying a werewolf has been lynched, when only a fellow werewolf could know that?

Right

17 February 2010

This is offensive and misleading. And I doubt they have 2K’s permission to use Bioshock:

(c) Zack Hiwiller 2007-2009. Theme based on "unlimited" by Hexaplex.