Patrick Rauland: Hello everyone and welcome to the Indy Board Game Designer's podcast where I sit down with a different independent game designer each week and we talk about their experience in game design and the lessons they've learned along the way. My name is Patrick Rauland and today I am going to be talking to Gabe Barrett, who is the designer behind … I guess he's a lot of irons in the fire. He's an upcoming Kickstarter, which we're gonna talk about, called The Final Flicktier. He's putting on Ignite Conference which is an event all about board game design. It's in a few days. And he's probably most famous for the Board Game Design Lab podcast.

Patrick Rauland: Gabe, welcome to the show.

Gabe Barrett: Patrick, appreciate you having me, man. Hey that was some really cool intro music man. I was digging it. I was dancing over here.

Introduction

Patrick Rauland: Isn't it good? Yeah, I got some good hip hop and sometimes on different shows I have a sweet, like a sweet filler beats in between sentences. I unfortunately don't have that button in front of me, but next time I'll have that button ready for you and we can put it in. You're like board game famous, Gabe. You have like-

Gabe Barrett: That means like 17 people know who I am. That's awesome.

Patrick Rauland: I mean for me it's just my mom, so it's like just me my mom-

Gabe Barrett: Your dog, man. Your dog knows who you are too.

Patrick Rauland: My dog. Yep. That's a huge audience. People probably know you from the Board Game Design Lab where you talk with lots of people about really cool things. You have a really focused show, which I like. I like to talk about … Or I should say, I want to show people what they haven't seen on your podcasts. I want to ask you a couple of questions about you as a person. If I met you at a convention Gabe, what is a game you would play every time no matter what?

Gabe Barrett: Ooh, a game I'd play every time no matter what. That is a really good question. Probably the new T.I.M.E. Stories. I love T.I.M.E. Stories. I don't ever get to play it now because I live in Honduras, and so it's super hard to get board games down this way as you might imagine. I would probably try to play whatever latest version of T.I.M.E. stories is out.

Patrick Rauland: All right. I like that. What is your favorite non-board game podcast?

Gabe Barrett: Favorite? I love Joe Rogan show. I love the just incredible people he has on that show from all different walks of life, all different political backgrounds, and different doctors and people way smarter than me. They just talk for like three hours. It's tons and tons of really cool information. I love listening to that show.

Patrick Rauland: Is that the Fear Factor guy?

Gabe Barrett: Yeah, it is him from back in the day, old Fear Factor. He actually talks about how Fear Factor he thought was going to last like four episodes because it was so stupid and such a ridiculous show, and it went on for so many years. Yeah, that kind of launched him and his comedy career. He was a standup comedian, still does that, and then he started this podcast a while back and it's just taken off. I think it had over a billion downloads last year. I think in one year it had a billion downloads, so it's just kind of crazy.

Patrick Rauland: Wow, that is so cool. I didn't know anything that he's done since Fear Factor, so that's really cool to hear that he's doing good stuff I guess.

Gabe Barrett: Yeah, check him out.

Patrick Rauland: If you are stranded on an island, what game would you want to take with you?

Gabe Barrett: What game would I want to take with me? It kind of goes back to can a plane drop expansions down because again it goes back to that T.I.M.E. stories thing. Can a plane drop in the newest expansions?

Patrick Rauland: I'm going to say no, but you could bring all the expansions with you.

Gabe Barrett: Oh, there you go, okay. Also eldritch horror, big fan. It's got a lot of … Great thing about that game is it's got a ton of expansions that are already out, so I could take all those with me and the game would never get old.

How Did You Get Into Board Games?

Patrick Rauland: Cool. The question I love asking everyone is how did you get into board games, board game design, and for you specifically what about podcasting?

Gabe Barrett: Yeah, so board game design definitely came first. I started designing games man years ago making the crappiest games anyone had probably played up until that point in history. They were so bad. But I was having a lot of fun. I didn't know anything about modern games. Honestly, I just got into things. I played D&D, I played some tabletop stuff but I wasn't aware of all the modern game stuff. Eventually I started playing Catan and some of those old school things that brings in everybody, Magic and all that. I just started designing my own stuff. I'm one of those kind of people that the way my brain works I love to create more than I love to consume.

I love to create more than I love to consume

Gabe Barrett: I love to write more than I like to read. I love to make games more than I like to play games. I got into it and I thought, “Man, I want to do this myself.” That's where it started. Then the podcasts came about, I don't know, two and a half years ago or so. I had this idea. I had a few different ideas. I was like, “Okay, what am I going to do with my spare time?” I wanted to write a book, and I wanted to do some other stuff that was like going around and speaking and doing different things like that.

Gabe Barrett: Then I had this idea for a board game podcast, and I thought, “Okay, well that's probably the one that's not going to work, and so let me put that last and let me try these other things first.” I went out and did those other things, and they didn't even work at all. Eventually, I was like, “Let's try this podcast thing because I'm really excited about it.” It has taken off.

Gabe Barrett: The thing that I thought was not going to work at all has turned out to be the main thing that worked. We're about 100 episodes in at this point, and it's just been a wild ride. Tons of awesome people have come together to make this awesome Board Game Design Lab Community. It's just been a ton of fun to do on a weekly basis.

Patrick Rauland: I should point out the community on Facebook is awesome. I think it's got 2,000 people in the Facebook group and I posted something earlier today about the packaging for my game. And I think I got like 19 comments on like, “Well, do this, do this.” They're all like very nuanced things. They're all board game designers, right? They all care about the nuance. It is really cool that you've built that community.

Gabe Barrett: It's been crazy. I never imagined it would take off the way it did. It's just been a wild ride, and I'm so thankful to be a part of it just a lot of amazing people. I actually saw your post earlier. You're trying to figure out is this a creepy looking hand basically on your box. I was really glad that you got so many responses to help you out. I think a lot of people are feeling the same way.

Patrick Rauland: What's kinda cool is I was talking to you about something kind of tangentially related, and then you mentioned that you had a Kickstarter. What's cool about that is I normally interview people after their Kickstarter, so you're one of the few guests that we … In this case, I think you're about … Are you about 30 days away from your campaign launch?

Gabe Barrett: Yep. Pretty much a month.

What Do You Do 30 Days Out From a Kickstarter?

Patrick Rauland: Okay, cool. One of the things I'm just fascinated about is all the logistics that go into a Kickstarter. What do you need to know? I'm going to ask you right now with a month out. I'm going to ask you, where's the check-in? Is the prototype done? Are the reviews done? Does that all sound good?

Gabe Barrett: Yeah. Sounds great.

How Many Prototypes Did you Create?

Patrick Rauland: Cool. I would love to know I guess where are you with prototypes? Have you made one? Have you made a bunch? How many are out there?

Gabe Barrett: Yeah, as far as number of prototypes, I have the main one that I've been iterating and fixing. I started back … I don't know January, February, March. Probably back in May, early June of really taking the idea out of my brain, out of my notebook, and turning it into a prototype. And so that prototype from way back when I still have. It's not very good. The idea was there. The idea was good, but the overall execution had a long way to go.

Gabe Barrett: It's been I don't know how many prototypes I've gone through over the last few months, but anyway I have the pretty good looking one. I printed stuff off myself. I'm waiting on the Game Crafter version. I've got a little bit more art that needs to come in and then I'll start sending out pretty prototypes to some blind play testing. And I've got some people that are going to help me look at the game and look at the rules and help me make sure everything is where it needs to be developmentally wise.

Gabe Barrett: That is like right now-ish, within the next couple of days that will start happening and that will start shipping out. Almost there.

How Many Reviewers Are On Board?

Patrick Rauland: My next question is how many reviewers did you send it to? And sort of a followup, I guess, did you send the reviewers unfinished art? To mean pretty close, but not done yet art?

Gabe Barrett: Part of the shipping is actually going out to these previewers as well. I have two lined up right now, maybe a third. I'm waiting to hear back from a third. They're reviewing the rule book. Actually, there's two more. So, maybe four. A potential of four. These are really previewers more than reviewers. It's a little weird with Kickstarter game, the review versus the preview. One thing I really looked into is I've seen a lot of Kickstarter pages. They have like 10 reviews and previews, like all these different videos. A lot of the stuff you have to pay for. Any time you do a preview, you're paying money for that.

Gabe Barrett: I'm really trying to figure out what's the best bang for the buck. I don't have thousands of dollars to put into marketing. Like really trying to figure out what are the main ones that I trust, that I feel confident in and that are also going to be within the budget so to speak. I've only reached out to … I reached out to a bunch trying to get prices and different ideas about how much it costs and all that. But I've really stuck to two or three feeling like, “Okay, these are the ones I really feel like bring the most for the money,” so to speak as far as the production values and their number of subscribers and things like that. That you just want to … You don't want to waste your money. That's where I'm at.

Patrick Rauland: Totally. I actually have just run into this myself with my game Fry Thief. A reviewer came back with a number that was … I won't say the reviewer, but it was $600 … I should say preview. So $600 for a preview. I was trying to think of like … I honestly wonder like how many people could I get to click and buy the Fry Thief now button on Facebook with $600 for Facebook ads. I don't know how to do that math. I can come up with some rough model, but I really question the value if it is $600. Maybe could you give us a ballpark like whose … Do I say who is the highest or what is the average? Is there some numbers you can give us?

Gabe Barrett: Yeah, I can give you … I don't want to their numbers and stuff out there. I don't to say things that change or anything like that. But anyway, I contacted one they were like it's about $800. I was like Wow! And kinda had the same reaction you did and even though this particular previewer, they have a ton of followers on Facebook, on YouTube, and all that stuff. It's like “but how many of those people are actually going to convert?” Is $800 worth it versus, like you're saying $800 worth of Facebook ads or I could get three previewers for $800, potentially.

Gabe Barrett: I've talked to some they were $250 and that seemed a lot more manageable. I've talked to some, they were free. And they said, “Hey, if I like the game, send me the rule book, send me some pictures and if i like it, I'll check it out.” And so, those were obviously like gold that someone with an audience would look at your game for free. I'd say cast a wide net and really try to find as many people as you can and check their track record and see how many subscribers are on it and see it. And see how many views they get too. Even if they have a ton of subscribers, if you only get 12 views on your preview, you've wasted your money. And so just doing your homework.

Have you Completed Your Kickstarter Video?

Patrick Rauland: Cool. Awesome. Okay, so something … I guess for me personally I get the prototype, I get reviewers. I have no idea how to make a Kickstarter video. Where is your Kickstarter video. Is that done? Is it scripted? What? Where is it?

Gabe Barrett: Yeah. It is planned, but I'm not doing the whole above and beyond crazy graphics and all this. No, it's just gonna be very straightforward. It's gonna be me, talking about the game and then showing people how to play the game. We're talking three minutes tops. Doing it all myself. I've got really pretty good camera. I've got a really nice microphone. The production value will be there. It's gonna look good. It's gonna sound good.

Gabe Barrett: I feel like at this point, I was talking to Daniel [inaudible 00:11:06] today about this. Kinda getting his ideas 'cause he's one of those Kickstarter experts so people pay him to consult and help them with their pages. So, he knows what he's talking about for the most part. I asked him about it, and he said “The main thing you need is to bring an audience with you. No one's gonna get to your Kickstarter page and watch the video and go. Now I'm gonna back the video or back this project.”

Gabe Barrett: The video is not gonna be the thing that gets them over the edge. Now it could be the thing that gets some away right? You could lose people but you're probably not gonna gain people based on the video. It's really about building an audience, building a base of support pre-Kickstarter, but then shows up on day one and then that gets the momentum going and then it goes on from there. So, I don't put that much stock in the video. You want it to be good. You want it to look good and sound good. But I wouldn't spend that much money on it or put that much time into it compared to some other things.

Patrick Rauland: Interesting. First of all, I totally agree with you need to bring the crowd with you. I totally agree with that philosophy. It's interesting because that's not the route that a lot of publishers go right? I've seen some really high-level beautiful videos. The one that's in my head right now is Tiny Epic Zombies. It has these cool 3D meeples running around with those cop cars and they're running over zombie meeples. It's a cool video that was clearly … I don't know how they make that, but I'm sure that cost thousands of dollars.

Gabe Barrett: Oh probably so.

Patrick Rauland: But it's cool to hear that you don't have to do that.

Gabe Barrett: No, definitely. Honestly, I don't remember the last time I watched a Kickstarter video. When I go to Kickstarter pages, I scroll right past the video. I look at the funding goal. I look and see how much the game costs. Then I compare that to what they're offering. I go, “Okay, this is a $49 game.” Then I start looking at it. I could tell by the art and the way the game is laid out on the table. Then I go to down to the “How to Play” video. I watch that on 2x speed. Right, trying to get as much information as quickly as possible. I make my decision pretty much right then, whether or not this is a game for me. I feel like I'm not alone. In fact there's a lot of people that aren't so much caring about the video overall.

Gabe Barrett: Now, there's a lot of people that do and so you can't just forget those people. You need to do some high quality and that it looks good and it explains the game or kind of what whatever route you take. But I feel like there's other things to be aware of and one of those like don't put everything in that video. Like there's gotta be more to it.

What About Manufacturing & Fulfillment?

Patrick Rauland: Cool. Alright. What about quotes from your manufacturer and fulfillment partners? Do you have those? Are those like down you already know who you're going to go with?

Gabe Barrett: Yeah, I pretty much know who I'm going to go with. I got all the fulfillment quotes. I actually back a couple of days ago I got some and then today I sent in like getting stretched goals and okay. So if the game changes and always a little bit more, just trying to play in for all the different scenarios that came in today. I feel really good about that. You can't get everything because sometimes things can change if you have to airfreight some things. The air freight charges can be a little bit different depending on time of year and things like that.

Gabe Barrett: You can't get it fully solidified, but you can get a pretty good estimate of what it's going to be and then still waiting to hear back from some manufacturers. Again, you want to cast a wide net and get a lot of different quotes and hear from a lot of different people and see what they're offering and then make your decision. But I'm pretty … I'm about 95% sure who I'm going to be going with at this point.

Are You Excited to Go the Kickstarter Route?

Patrick Rauland: Very cool. Let's change gears a little bit. You've got all this work, you've done all this cool prep for Kickstarter. Are you still happy that you're going the Kickstarter route instead of selling to a publisher?

Gabe Barrett: Yeah, I'm loving it now. This is the thing. If this game had miniatures, I would be losing my mind right now because I have no idea what that entails. But this game is cards, it's dice, it's neoprene mats, it's very straightforward, very simple game. It's not some crazy trying to make a million dollars on Kickstarter thing and so because it's simple, I feel really good. I'm excited. I got a whole bunch of art came in over the last couple of days and it looks amazing.

Gabe Barrett: It's art that I kinda had the vision for it. I've got some friends that are artists and graphic designers and I sat down with them and say, “Hey, this is what I'm thinking, and then you put your spin on it and then we'll come out. We'll figure this thing out together.” And it's been a lot of fun. That whole process has been a lot of fun. Then I probably wouldn't really be involved with had I gone the publishing route. Like this is not a game I even pitched to Publishers.

Gabe Barrett: I went into the game thinking, “I think I'm going to Kickstart this.” Now most of the games I've created … Or very much I wanted to get these published by a publisher. But this one even from the very beginning I thought, I think I want to do this myself. Both from, I want to control the whole thing. Start to finish. I want to control the art, the graphic design, how everything is laid out, all that stuff.

Gabe Barrett: Also I want to learn. I felt like this was a really good game to get my feet wet with Kickstarter and it's not going to be a super expensive game. Again, it doesn't have a lot of miniatures or anything like that. I was really excited just to learn the process and get to know all these different things for shipping and fulfillment. And understand the other side of the industry that I haven't really learned about other than just talking to people. I wanted to do it for myself.

Patrick Rauland: I find there's a huge difference between … I can read a blog post or a book or take a course on fulfillment and manufacturing. But you don't really get it until you have to do it.

Gabe Barrett: Oh, absolutely.

Tell Us About Your Podcast

Patrick Rauland: I think it's really cool that you're doing it. Okay. So I want to talk to about your podcast because that's your Board Game famous with your 17 listeners. You've talked to over a 100 people, right?

Gabe Barrett: Yeah, just one. So episode 100 and I've also done some other series and things like that. Yep.

Patrick Rauland: You've talked to over 100 people, how has that changed your design process?

Gabe Barrett: I feel like it's helped me grow faster, if that makes sense. I feel like there's a lot of mistakes that I would have made had I not talked to all these experts that gave me great advice while they were talking to my listeners, right. I just kinda got to be there for all the information to … What's cool is I get to hear it twice. I hear it once during the actual interview, all their advice and then I hear it again during the editing. Every single episode I've heard twice at least and some of them I've gone back and listen again.

Gabe Barrett: I've just been able to absorb so many different pieces of advice and wisdom and ideas of, “Hey, do this, don't do that. I tried this one time, it didn't work so well, don't follow my mistakes,” or that kind of thing. And so I feel like my design level has gone up faster than it would have without it. It's been really great.

Patrick Rauland: You basically feel like it's helped you avoid a lot of mistakes?

Gabe Barrett: Oh yeah, definitely. Definitely.

Where Are You Taking the Podcast?

Patrick Rauland: I'm curious where you're going to … Sorry, this was not a prescriptive question, it just came into my head. But I'm curious where you're going to take Board Game Design Lab because earlier this year you had a really cool design competition and then just a few weeks ago you announced this Ignite conference. So you're doing other … It's not just a podcast, right? There's a contest, there's a little conference. What is your end goal? What do you want to have happen?

Gabe Barrett: Yeah, I mean perfect world. Eventually I would love to get to a point where this is my full time job. Where it is my job to help game designers have everything they need to grow and become the best game designers on the planet, right. To have all the resources and whether it's through interviews and podcasts or blog posts or through conferences or contest, all these different things to basically build this community to help as many people as possible make great games that people love. I mean, ultimately that's the goal.

Gabe Barrett: It's to be able to do this as a full time gig. And it's a long way off from there, I'm doing it part time, I'm making money here and there and it's helping me pay some bills here and there, which is great. To be paid for your … How to be paid for something that you love doing and that you enjoy. It's amazing. But hopefully one day it'll get to the point where Kinda hit that critical mass. Where we have enough people and enough base of support and enough people willing to put in and help support the show and that kind of thing that it becomes the day job. So we'll see.

Patrick Rauland: Man, that is terrifying and exciting all at the same time. I started working for myself about two and a half years ago and I saved up so much money in my bank account because I was like, “Man, I got to make sure I don't … ” I have a mortgage, you can't … And you have kids. You have to be careful with that stuff. So it's cool you're, I guess taking baby steps and growing little by little and at some point I'm sure with good fortune you'll take that jump.

Gabe Barrett: Yeah, that's definitely the goal. And I feel really good about it .The trajectory is definitely headed in that direction if I'm gonna just keep things going and keep adding things here and there and providing people with more and more and more value. I feel really good about it.

How Do You Want to Branch Out?

Patrick Rauland: Do you think you'd want to do more podcasts, more audio stuff? Do you think you want to do more of these conferences? Would you want to do like one on one consulting for Kickstarters? Like what … Because there's so much space out there to help people make board games.

Gabe Barrett: Yeah. Well, I mean the answer to that question is yes. I mean, I'm already doing pretty much all that. I've been doing consulting calls where people, they need help with either the game design or they're trying to figure out their kickstart, like you said, all these different things. There's so many different avenues that this industry takes and there's a lot of people out there who are at step one or step three out of 100.

Gabe Barrett: I've been able to help a lot of people just get a little bit further down the path and all the wisdom and knowledge that has been imparted on me, I've been able to pass that along to other people. I'm excited to do more game contests and … Like the Ignite conference, I hope that becomes a yearly thing. You know, this is the first one we've ever done. I'm super excited. I feel really good about all the speakers that are involved in and the people that are coming.

Gabe Barrett: It's cool because it's on Facebook, right? You don't even have to go anywhere. You don't have to get a hotel, you don't have to get a plane ticket or anything you can show up in your underwear and nobody's going to know. And so I'm excited to do that and maybe some other types of things. Then with the launch Board Game Design Lab+, a BGDL+ a while back.

Gabe Barrett: It's basically it's through patriot and so you get a subscription … You pay a subscription fee and you get access to all sorts of other audio shows. I've been doing the thing called the Kickstarter diaries, which is almost like a separate podcast end of itself where I talked to people just about Kickstarter and the mistakes they've made and success they've found. And they've been doing a podcast for the BGDL+ as well.

Gabe Barrett: It's all about hacking creativity. Figuring out how to get motivated, how to stay motivated, how to hack your time and all these different … How to be efficient and all that kind of stuff. I'm excited to do more and more and eventually it hits the limit, right. There's only so many hours a day, but right now I'm excited to keep figuring out new ways to add value.

What is Your Design Process?

Patrick Rauland: That's awesome. Let's change gears back to board games. What is your … I mean, when you have … Give us an overview of your design process. What does it look like from start to finish?

Gabe Barrett: Yeah. So the initial idea and I've got countless all at the same time, just like any other game designer. Everything can be a game. As you walk down the street, you see 50 games on your way home. And so it always starts as an idea that sits in my head for a while. And it just kinda rolls around, right. And I have tons of ideas and I'll write them down. I'll write down different, “Okay, what about this mechanism? It might bring out the theme.” I start with theme almost 100% top.

Gabe Barrett: And can I have a game … I want to make a game about x and so what would support x? And I'll let those games just float around in my head for a while. And then I'll start working on one or two or three, typically no more than three at a time. Where I'll start prototyping bits and pieces. One thing that really bothers me about the way some people work and I feel like one of the reasons I get so overwhelmed is they try to prototype the whole game at the same time, right. They think I'm going to make this two hour game and I'm going to prototype the whole thing and then play test it.

Gabe Barrett: Well good luck to you. That's going to take a long time to figure that out. And so I'll just start prototyping little bits and pieces. I'll prototype the combat system, I'll prototype the movement, I'll prototype the events card, vanguards and just start putting these pieces together one at a time and just making sure they work. Okay, this works. Let me change this here. And then eventually I'll get to a point where the whole prototypes done. Okay, great.

Gabe Barrett: And then I'll play a little bit and I'll typically have two or three prototypes at a time going and play testing and figuring out and staring at, and all that. And eventually I'll get to a point with one of them I go, “Okay, this is the one I'm going to focus on.” And then I'll just hold off on the other one or two, put them on the shelf for a little while and I'll just focus on one. And put all my energy into it. All the play testing, all the time, all the thought processes into that one until we get to the point where it's pitchable or sometimes I'll do this for a contest so I can submit it to the contest or whatever.

Gabe Barrett: And so it Kinda … It's a big filter, right. I start with a whole bunch and it kind of filters, filter, filters down until I've got that one game I'm working on and I put everything into that. So that's how my process works.

Patrick Rauland: I was actually surprised when you said … Did you say you made your first prototype for a … Oh I'm gonna forget the name. Hold on, I want to get it. The Final Flicktier, there we go. Did you say you start … You made your first prototype in May or June?

Gabe Barrett: Yeah, May was the first prototype, but the idea had been in my head for a while. I had this … I actually talking to a guest on my own podcast, he mentioned something and he gave me an idea for this like 4x dexterity space game. I was like, “Man, that could be really cool.” It just stuck in my head for a while and eventually this summer I had some extra time and I thought I'm going to see what I can do. And I started prototyping it and putting the ships together and the planets and figuring out the mechanisms and all that. And then it was off to the races.

How Many Hours Do You Work on Your Designs?

Patrick Rauland: I have to give you Kudos because I've been working on my game since November of last year, so I don't know how … And you're going to launch way before me. I don't know how you put it together that fast, that is … All right, here's a question. How many hours a day do you work on your designs? Maybe you have 30 hours in a day.

Gabe Barrett: No, it's definitely not that. One thing that really helps, it's a very simple game, right. With the dexterity, you can't go too complex, right. You can't go too far out there. You don't want a two hour dexterity game. You know what I mean? Like this is a 60 minute dexterity game and the dexterity is it's part of the game, but it's not the whole game. It's not like flip ships where dexterity is the game. This is one of the main mechanisms but it's not the whole thing. But that's one thing. It's the complexity.

Gabe Barrett: And again, I talked to some people and they're were working on these like super complex euro three hour experiences. And of course those games take two years to develop because there's so many moving parts and so many things going on. But when you're making really thematic games, that are very simple. I mean the rule book Super short, there's not that many rules. It goes a lot faster. Right. And then when you can really devote time to it and you're just like, “Okay, this is the thing I'm going to work on.”

Gabe Barrett: And that's another thing when I talked to the game designers that are just starting out or just figuring things out industry, because you have to schedule this stuff. If you want to be good at this, if you want to make it something real, make it a job and make it … Scheduled the time and make sure you're sticking by that time. You're dying on that hill, so to speak. And you're walking away from watching TV or Netflix or video games, whatever it is and you're devoting time to this. Because when you do that, it's amazing how fast things can come together.

Gabe Barrett: It also helps I have some really good folks here that live close to me that are wonderful play testers. And we get together every Sunday night and we play one of my games and maybe another game that they bring or something like that. And so that's been a huge help as well, to have people that come around and go, “Hey, we want to play your game.” And that's been amazing.

Patrick Rauland: That's interesting. I've talked to a few different people about play test groups or a board game design meetup groups and most people do not have a weekly group. But if … And I think for me I'm lucky where I have a monthly group and that's above average, a monthly group. But having, it's probably just your friends not like a meet up, meet up. But it's probably just your friends and they can just come over once a week. You … I have no doubt you can get tons of work done. It just, “Hey, I have a new idea, let's test it. Nope, didn't work. Cool, try something else next week.” You know what I mean?

Gabe Barrett: Yeah. And my wife's a great cook. And so she makes dinner for everybody and they show up and they eat free food and they play one of my games and they leave fat and happy and everybody's … It works out for everybody.

Does Game Design Energize or Exhaust You?

Patrick Rauland: Very, very cool. So tell me about when you are designing games are you like … You finished updating a game, are you excited or are you exhausted?

Gabe Barrett: I am so pumped every time. I have to be careful not to design too close to bedtime because I can't sleep. My brain just keeps working. It just wants to stay at the table. That's one of those things like an object in motion stays in motion and that is definitely my brain. Like it's sometimes difficult to get in motion, I'm like “Oh I don't feel like working on it.” But as soon as I start working, like I can just go for hours and hours and hours.

Gabe Barrett: And I don't … It's weird. I'm one of those people that I don't really get tired so to speak. Like I never just fall asleep. I have to go to bed, I have to actively go to bed. And so I could easily stay up two, three, four, 5:00 in the morning and just not even realize it. Just working on stuff and figuring things out. So I love it.

Patrick Rauland: Oh, that is amazing. I'm kind of there with you. I don't ever accidentally fall asleep. I have friends that will just fall asleep 10 minutes into a movie and I have no idea how their brain … How does that happen? Cause I'm glued to a TV screen … Well as soon as they start telling me a story I'm glued. And I needed to do the same thing, like go to bed and not do anything too interesting before. Okay. So, I guess how many …

How Many Games Are You Working On?

Patrick Rauland: Okay. So interesting question. You're working on this game you're about to launch on Kickstarter and I should say to all the listeners, this podcast should come out while it's on Kickstarter's. You can find it right now. If you go on there. How many games do you have with publishers? Like are there … Because I know you mentioned before like a couple of your games are with publishers. How many of those are there because you're still spending some time on them, right?

Gabe Barrett: Well so like one of the games with the publisher right now it's under review, it has been there for a while. They're working on a licensed IP for it and that just kind of takes a while to get that figured out to see if that's going to come through. That game is just like I don't know anything else to do to it. This is done. And that's the football game I've been working on forever and I've talked a lot about them own podcasts.

Gabe Barrett: And then I've got another game that I talked to a poster about and they said hey can you re-theme it just a little bit and do some different things there. And so that one I'm still working on it but it Kinda on the back burner right now. It stares at me. It's actually sitting right next to me at my desk right now, staring at me, reminding me that I need to work on it very soon. And so that one's … That's that.

Gabe Barrett: And I've got … Let's see a couple more that I've sent off to publishers and either have gotten really good feedback back or just sitting here waiting on them to kind of give me something in return. So there's, I don't know four or five that are out right now that are in a good place that could be published or just need maybe a little bit more development.

Gabe Barrett: So yeah, I've got a handful out there and then a whole bunch and notebooks and whole bunch of prototypes. They're in a drawer. The drawer of misfit prototypes over here next to me. I don't know how many are in there, man. At least 20 of games that just didn't turn out for whatever reason.

Patrick Rauland: Yeah. I feel like I need a basement for that. I live in a condo and I do not have enough space for all the unfinished prototypes. I don't know what … At some point I'm going to have to get rid of them.

Gabe Barrett: Or just pour them out and take all the usable stuff, find a box for it and then just … Yeah. [crosstalk 00:28:31].

What Does Success Look Like?

Patrick Rauland: So I think I know the answer to this, but what does success look like in the board game world to you? Actually, since I think I know your answer I'm gonna change the question. What does it look like for you in the next year? And what does it look like for you in the next five years?

Gabe Barrett: Yeah, for sure. Let's start with a bigger one. Next five years is like I said, making this a full time thing. Where I can do the podcast and I can do the community and all the different stuff for board game designers. More books, I got the board game design advice book that came out earlier this year, I'm working on the second edition now. And just doing as much as I can to make this a full time gig. And so what that looks like in the next year is what basically can I do it in a year instead of five.

Gabe Barrett: I've read a lot about can you 10x your results over the next three months or the next 12 months or whatever it is. And so it's like, “All right, how do I do that? What does it look like to try to do it now? Not that that's really the goal, but what would it look like if I could? And so it's just add more value, trying to find more ways to help people, whether it's through contests or consulting or conferences or books or whatever it is.

Gabe Barrett: And just anytime an idea comes along, hey, test it, prototype it. Hey, ask the community, “What do you guys think? Would you guys want something like this?” And then if they do, if they say, “Yeah, absolutely.” If they raised their hand so to speak, okay how do I make that happen? And so we'll see where it goes.

Overrated Underrated Game

Patrick Rauland: Very cool. So I like to end all of my episodes, all of my shows with a game called overrated, underrated. Now I know I normally ask people, “Have you heard about it?” In your case, we just chatted about it right before the interview. So basically I'm gonna force you to take a position on a topic because it makes for interesting audios.

Gabe Barrett: Absolutely. Provocative listening.

Patrick Rauland: Yes. So sports games, are they overrated or underrated?

Gabe Barrett: Super underrated assuming that they actually feel like a sport and not just a math problem or they've taken all the fun out of it. I'm a huge sports guy. I played football through college and love football, love sports in general and I wish there were more sports games. I feel like they're underrated just because they need to be more represented.

Patrick Rauland: Love it. Okay. So here's an assumption that Honduras does not get sort of summer, winter, fall, spring, is that correct?

Gabe Barrett: For the most part, yeah. Where I live it's more like San Diego weather. So it's kind of cool, it's kind of nice all the time and then it gets a little bit chilly, and chilly here is like 50 degrees. And then it gets a little warm and warm here is like 85 and so yeah. It's just kind of nice all year round. It's rainy or dry, basically there are two seasons.

Patrick Rauland: Yes. So my question are having four seasons. Is it overrated or underrated?

Gabe Barrett: Oh, that's a good question. I really miss snow. I love snow. I don't want it to snow very long. I want it to snow for like a week and then be gone and then be warm again. But I would say seasons are underrated. My daughter actually today was saying how she wished it would snow in Honduras and I said, “Well good luck to you there. It's probably not gonna happen.” And so she has this like longing idea of the United States and wanting to go to Wisconsin or somewhere where it's snowing.

Patrick Rauland: Now aren't you from Alabama? Do you get snow there?

Gabe Barrett: Yeah, we get it for like a week and then it gets warm again. It great.

Patrick Rauland: Wait-

Gabe Barrett: It gets cold enough to snow but not cold enough to stick, right. But it gets cold enough to wear a threatened snow, and then they cancel school because it might snow, which is awesome. So you get to stay home from school and they bottled the bread and milk. It's all gone from the grocery stores. We freak out. It's awesome.

Patrick Rauland: That is amazing. Okay. So getting in over 100 or more play tests and have a game before you sell it to a publisher, before you launch it on Kickstarter, is that overrated or underrated?

Gabe Barrett: Yeah. Depends on the context, right. Again, it goes back to the complexity of the game. But I would say for a lot of games especially games coming out nowadays that aren't these long drawn out thing, I would say it's overrated. I don't think you necessarily need a 100 to do it. I think you could probably do it after 20, 30, 50. I'd say 50 might even be the ceiling here. Especially I know there's a lot of people say, “100 play tests when you haven't changed anything.”

Gabe Barrett: So you kind of, if you change something, it starts the number of back over. I don't know about all that, especially with the publisher, right. Now it Kickstarters are a little bit different because Kickstarting, you're wanting to put out a pretty finished product. But with a publisher they're going to put it through some development. It's going to go through more play testing with them. And so if you're dealing with publishers, I'd say 100 is definitely overrated.

Patrick Rauland: Perfect. And last one American football, overrated or underrated

Gabe Barrett: Way underrated is the greatest sport in the history of mankind. It teaches every life skill that you need to know. Unfortunately, it causes some brain damage allegedly. I can't … I don't know if it does or not, I can't remember. But I think it teaches everything, especially young man needs to be aware of as far as teamwork, working hard, discipline, overcoming adversity, fighting through pain. I think it teaches every life skill you need, especially as a young man.

Gabe Barrett: And so I would say it is very much underrated. More people need to play it. I just hope they can find a way to make it just a little bit less brain damaging.

Patrick Rauland: So I will ask you a recent news question. So correct me if I do not watch football closes. Let's let me know if I'm totally off base here. Isn't there some recent stuff about getting … What is it called where you can't tackle the quarterback very hard?

Gabe Barrett: Roughing the passer?

Patrick Rauland: But I could've sworn like, people were making fun of how recent someone actually sacked the quarterback and they got a penalty.

Gabe Barrett: Oh yeah. I mean the rules have gotten so … I mean it makes sense if you think about how much the NFL is a product, right. And the best way to sell your product is to have the best players on the field. And so if Tom Brady or insert best quarterback here, Cam Newton, whoever gets hurt. Well that hurts your brand, that hurts your product. You're not going to sell as much because the best players aren't playing. And so you want to do certain things to protect them and it's just unfortunate.

Gabe Barrett: It kind of simplifies football sometimes where you have these rules that exist to protect players, but they … It's a little bit questionable. It's like well that really wasn't that big of a deal. It wasn't that bad, but you had the flag anyway. It's just kind of the nature of it being a brand and being a product more than just being a game.

Patrick Rauland: Got it. Also I'm really appreciating the distinction between the game and the product, right. Because the NFL cares about the product and people who play football in the backyard care about the game.

Gabe Barrett: Oh absolutely. Absolutely. The people watching at home, they would tell you they care about the game, right. It's when we had these conversations and we talked about the rules and that kind of stuff. But I mean ultimately it is a bazillion dollar product and they want to protect … Protecting the shield is what they call it. The NFL logo shield, and then you protect it.

Patrick Rauland: That is something good.

Gabe Barrett: Absolutely. It's what they talk about all the time especially with the commissioner and … That's one thing they talk about a lot too with like banning players or disciplined player, cutting and not cutting them, but like making them sit down for games and different things like that. They're protecting the shield because they're trying to protect the brand because they don't want all of the public backlash that goes along with domestic violence or whatever the topic of the day.

Gabe Barrett: So they try to protect that brand. It's been a really interesting thing with all the Trump stuff and all the kneeling. And it's been a very difficult time for the brand of football for the product and it's just interesting times ahead I think.

Wrap Up

Patrick Rauland: Well thank you for sharing. I learned something about football today. This is awesome. Gabe where can people find you online?

Gabe Barrett: Online? There's boardgamedesignlab.com. That's kind of the base of operations, bringing fun, all the stuff I'm doing over there especially with the podcast. You can find me on Twitter and Facebook. The Facebook group I think it's facebook.com/bgdl or something like that. Board Game Design Lab Community, if you search for that you'll find it. And yeah, that's the best place.

Patrick Rauland: Well thank you for being on the show. I appreciate it.

Gabe Barrett: Yeah, definitely man. And like you said, the Kickstarter is on right now The Final Flicktier two to four players, 60 minutes, a 4x dexterity game. And so there's not too many of those out there. It's been a lot of fun to put together a lot of fun to play test. People were really enjoying it and they're loving it. And so I'm excited to get it in more people's hands.

Patrick Rauland: Awesome. Listeners, if you're listening to this and you liked the show, please leave us a review on iTunes. If you do, Gabe said he would build you a house in Honduras. That sounds like a pretty good deal.

Gabe Barrett: Absolutely. Well, the building costs down here are a little different, so it's not that hard.

Patrick Rauland: You can visit the site indyboardgamedesigners.com. You can follow me on twitter. I'm @BFTrick. That's B as in Board game, F as in fun and trick as in trick taking games. I did … I finally finished putting up a page on my site for finalizing. If you finally go … If you go to my site, there's a thing where you can finally click the button that says, “Yes, I want to be on the email list.” So you can finally go there and do that if you want to. That's all I got for you. Until next time, happy designing everyone. Bye bye.

Patrick Rauland: Hello, everyone, and welcome to the Indie Board Game Designers Podcast, where I sit down with a different independent game designer each week, and we talk about their experience in game design and the lessons they've learned to get to where they are today. My name is Patrick Rauland, and today, I'm going to be talking with Kate Tessier, who is the co-creator for Raven Tales, a board game publisher, and the co-designer for Wardens, which is about to launch on Kickstarter. Kate, welcome to the show.

Kate Tessier: Hi. Thank you.

Patrick Rauland: So, I've recently sort of switched my intro up, and I like to sort of have this very quick … Not a game, but just these sort of three quick questions, just to let the audience get to know you.

Kate Tessier: Cool.

Introduction

Patrick Rauland: So, first question. If I met you at a board game convention, and we could play any game, what is a game you could not say no to?

Kate Tessier: I could never say no to Cthulhu Wars. Just taking the role of the great old one, and like having this huge war, this fun and quick game, I just cannot say no to it. I just love it.

Patrick Rauland: Awesome. So, your game has a little bit of steampunk in it, so I want to ask you, what is your favorite steampunk gadget, in a comic book, in a movie, in a game, whatever?

Kate Tessier: It's not really a gadget, but I would say if I could go into a steampunk zeppelin one day, I would just be like so happy. Zeppelin are awesome for me, and I wish, like, I saw them everywhere around me, but you know, I don't live in a steampunk world.

Patrick Rauland: Yes, zeppelins and airships would be very, very cool. And what is your just sort of favorite genre? What is your favorite type of game?

Kate Tessier: Well, I love strategy game because I am not lucky, and I love co-op games because I lose all the time, so a co-op strategy game would be my way to go.

Patrick Rauland: Awesome, so I mean something kind of like Pandemic?

Kate Tessier: Sure, yeah. Sure.

Patrick Rauland: Cool.

Kate Tessier: I love, also, T.I.M.E Stories, which is one of my favorite co-op games.

How Did You Get Into Board Games?

Patrick Rauland: Got it. Very cool. I like it. Okay, so first real question is, I always like to ask people how did you get into board games and board game design?

Kate Tessier: Well, I started in my childhood, like pretty much everybody, with my family. We were playing those classic games that the community tend now to hate, but that I still love, like Life, Mille Bornes, Battleship, you know? These are the games that I still actually play with my family, so I really enjoy not especially the games, but I enjoy, you know, these precious moments that you just share with your family, and the game really doesn't matter here, so this is how I started playing games. And I think this is pretty much for every gamer. They just started with Monopoly.

Kate Tessier: And when I got older, and I got my own apartment downtown, I was living right next to a local game store, and this most amazing game store with hundreds of different games on the walls, and I was just so impressed. It was amazing for me to see that, so I was going there every weekend, every Friday. Like, every time I could have a few hours free, I would go there, and to try new games. Like, usually, I would never play the same game. I would like to … Like, I wanted to try, all the time, a new one.

Kate Tessier: And this is actually the place that me and Sam, my partner, when we first met we went there, as first dates, like five years ago. That's actually the way that we started designing games together, and it was totally unexpected. We were just there playing games all the time together, and after a while, we started, you know, like noticing your favorite gameplay, noticing your favorite mechanics, like everybody does.

Kate Tessier: For example, like I said, I am very unlucky, so I tend to appreciate more strategy games, and like every time we played, there was always something we liked more, and something we have changed in the game, and this is how we suddenly built this silly little game of our own, that we called something like, if I translate in English because I'm French it would be … Our own game would be … So this was the title of our kind of game.

Kate Tessier: We would just have a beer there and talk about how we would design the perfect game for us, you know? And the perfect game for us, since everyone has different tastes and preference, so we would have the whole universe in our head, and we knew exactly what kind of gameplay and mechanic we liked the most after playing all of those different games. And this was just a silly game for fun. We didn't even really talk about doing it. Like, we never talked about doing our own game, but we just enjoy having a beer and talking about how it would be, you know?

Kate Tessier: At that time, Sam was a concept artist and an illustrator in a video game company in Quebec, where we are from, and one day, just for fun, he started drawing that universe that we had been talking about for so long during his lunchtime, and he literally created the whole map, and even started drawing sketches of the characters. When he showed them to me, I was blown away, you know? It was just drawing them in his free time at work, and he didn't really talk about it to me. He just showed them to me, and I was like, “Oh my god.” It was just so exciting, seeing everything that we imagined for so long just coming to life here in front of my eyes. And Sam is such an incredible artist. I admire him a lot, so it was very amazing.

Kate Tessier: And you know, now that we had that actual map and those characters in front of us, we had just … We had no other way than to start working on the gameplay. Like, we had no choice but just starting to create the game. But again, we did it just for fun. Like, it was just for us, because we really loved it and we really enjoyed it. So we just started working on the gameplay in our free time, until one day. Sam came home after work, and he just told me that, like literally he had left his old career at the video game company, and he wanted to work on the game full time. He just told me that, and I was like … You can imagine I was obviously very shocked, and I was very surprised, because we've never talked about this. Yeah.

Kate Tessier: But you know, I was very surprised, but I believed in him, and I trusted him without a doubt, and I was just like, “Okay, let's do this,” you know? Like, “Let's go.” This is how we became board game designers.

Patrick Rauland: Wow.

Kate Tessier: Like, this is how it happened.

Patrick Rauland: That is so, I want to use the words hardcore, like, “Hey, I quit my job. We better make the game [crosstalk 00:07:52].” That's really intense. I'm doing mine part time, and I admire that. Also, I'm kind of scared by it, but that's a really interesting story. Okay, so I want to-

Kate Tessier: Thank you. Yeah, it was amazing. It was very unexpected, and … You know sometimes, when you take decisions like that out of passion? This is when something incredible happens.

How Did You Design the Different Play Modes?

Patrick Rauland: Yeah. Yeah, yeah. I can see that. So, I want to talk about your game a little bit, because it's cool. There's Cthulhu and steampunk, and it's definitely post-apocalyptic, because if you look at some of the pictures of the game, like the continents are kind of exploded, so it's a very cool universe, but I want to talk about the play modes, because there's a co-op mode. There's a one-versus-all mode. There is a solo mode. And I was just thinking, as I was looking at your game, sort of preparing for this interview, that it seems very trendy for games to have all these different play modes, and I was just like how do you design a game like that? Do you design one of the modes first, and then you design all the other modes later, or did you design them all at the same time?

Kate Tessier: Well, I imagine that for everybody, it's different. Yes, I agree with you that now it's very a thing now to do all of those different modes. For us, at first, we didn't want to have that many modes. At first, Wardens was a one-versus-all game. We really wanted to just push the fact that one player takes the role of Cthulhu, and that he fights against his friends who co-op against him. Like, for us, this was the game, you know?

Kate Tessier: We started with this mode because, like I said, I love playing co-op games, and the reason for that is because, like I said, I lose all the time that I play with Sam. I just lose every game, any game. He just wins all the time. So I said, “Okay, we need to have a co-op here, because this is not happening.” So this is why we made a one-versus-all, but we didn't wanted it to be only a co-op. We really wanted to give the opportunity for the player to play as Cthulhu, because there's not much games that you can play as a Cthulhu. There Cthulhu Wars, that I mentioned earlier, but I don't think that there is much more games that you can play as Cthulhu, so this is why we really wanted to do that. And it was important for us to create this gameplay with this overpowerful Cthulhu, who controls his legion of Starspawn, and he's just overpowerful, so he needs, actually, three players to balance his power.

Kate Tessier: Yeah, and the other modes just came with the community. You know, like about a year ago, we started sharing a little bit about Wardens on the community, and people were just always asking, “What about co-op? What about solo?” It was always coming back, and then, you know, we just had no choice but to consider this option, because we are doing this game firstly for us, because we love doing it, and we love this game, and we love playing games, but if we produce the game, it's not going to be for us, it's going to be for the community, obviously, so this is why it was important to make them happy. So we had to consider this option for all these Lovecraftian board game players out there. So this is why we started working on the solo and co-op modes.

Kate Tessier: Like a few months ago, it's still a work in progress, so this is why the rule book is not available anywhere yet, but we are working hard to make it as good as possible, and we want to have these modes to look, as much as possible, just like the original one-versus-all mode, you know? Like, sometimes you play a game, and the solo game is a totally different game. Like, it's not at all the same gameplay. And here, we wanted to be as close as possible, so we are trying to have the same mechanics, the same gameplay, so that even the solo player can have the same feel of what is really Wardens about.

Did You Get Rule Suggestions From Your Audience?

Patrick Rauland: Got it. No, I like that a lot. I was going to ask, so you started posting pictures to your community, or pictures, and information, and all that stuff. Did they give you rule suggestions, or did they just say, “We want a co-op mode,” or did they say like, “We want a co-op mode, and it'd be really [inaudible 00:12:43] it worked like this”?

Kate Tessier: Yeah, it was mostly like you say, like, “This is what we want, and we want a co-op mode.” We didn't have much suggestions, because the one-versus-all rule book was not available yet, so the community didn't know what was really the gameplay, so you know? They couldn't have gave us ideas about rules for solo, because they didn't know, at that time, what kind of gameplay it was. But even now that we shared the gameplay a little bit, we don't really have much ideas. But, like I said, we tried to have the same mechanics and the same gameplay, so just to keep it as close as it is.

Tell Us About Your Kickstarter Pledge Levels

Patrick Rauland: Yeah. No, I love it. So, something else I noticed on your Kickstarter page is that there's sort of three basic levels. There's the base game. There is the deluxe version, and by the way, I love when games have the deluxe version, with like metal coins and all that stuff. [inaudible 00:13:47] deluxe version. But then there's the third level, which I was really intrigued by, which I think is called Become a Warden level, and basically, it's really … Well, much more expensive than the other two levels, but basically, you will have your 3D sculpture, we'll design a miniature based on the likeness of the person who's backing it, which I think is really interesting, and I haven't seen a lot of publishers do that. I guess why would you … Yeah, I guess why would you create a level like that, and why don't you think other publishers create a level where people can add their likeness to a game?

Kate Tessier: Well, I cannot speak for other publishers, but what happened here is that the thing we wanted to do at first was to design additional characters … Like, we just wanted to add characters to give more options to the players, since there are only three wardens, you know? And since the first warden that we created at the beginning was Morgana, and it was the one, actually, that Sam illustrated while he was still working at the video game company, and to design her, he inspired a little bit by me, to create her style and her face and everything, you know? So this is something I find so precious, and so personal, and because of that, you know, Morgana is and will always be my favorite.

Kate Tessier: And, I wanted to give this opportunity to someone else, you know? To a fan, without whom, by the way, Wardens wouldn't be possible at the first place. Like, the community is making this happen, so we just wanted to give … So this pledge is about creating an additional creator based on someone, inspired by his or her face and style, and let that person decide the name of the character, and the kind of companion pet that he wants, and this is just a way I thought about to give back to the community a little bit.

Kate Tessier: There is one pledge that someone can buy, like you said, and we also are going to do a contest that I'm going to run on web [inaudible 00:15:59] social media [inaudible 00:16:00] to give this opportunity to more people, also, and for someone who, like, doesn't have the money to pledge, for example.

Patrick Rauland: Yeah. I think that's really, really cool. I love the idea of … I think for me, like, it's pretty expensive. I want to say it's five, maybe $600, and I think the … And I should say your game has tons of miniatures, so I think the base game is like $80, and the deluxe is like … Sorry, I'm probably getting your prices fairly wrong. But I think, you know, this adding your likeness to it is two to three, probably like two times to three times the cost of the deluxe version, but to have your likeness in a game is something that lasts forever, you know?

Kate Tessier: Exactly.

Patrick Rauland: Like, I think it's … To me, yeah, it's really expensive, and I'm really tempted by it.

Kate Tessier: But like I said, we are going to do the contest, so if there's someone who really wants to have it, and has the money, then go for it. You can have it, but there's going to be a contest for the one who doesn't have this money, so we know that other gamers have so many games to buy and cannot afford everything.

What is it Like to Travel Your With Your Game?

Patrick Rauland: Totally. I love it. All right, so you've been … So one of the things you mentioned is you've been traveling for around a year, including 10 months in Asia, and it seems like you've been doing traveling for personal reasons, but also to show your game to a bunch of people around the world. How is that going, you know, traveling for over a year?

Kate Tessier: Well, it's going harder than I thought, I have to say. You know, like before we started working on Wardens, I was working very hard to leave Quebec and to travel the world, because I already had seen India, and a little bit of Europe, and America before, and I really wanted to see more and to discover the world, you know, like a young 24-year-old is. So I was working very hard for that, and then Wardens came in the story, and then we just said, “So, let's mix both, so let's travel, and discover the world, and meet people, and at the same time, it's going to be amazing, because we are going to be able to show Wardens to many different communities around the world and meet all of these different designers and gamer.”

Kate Tessier: So this was pretty much my last year. We left Quebec. We went first in India, because I had been there before, and I had to go back. India is, for me, a huge love story for me, so we spent a couple months in India. At that time, we were working on the backstory, on the rule book, and everything, so it was mostly like working on the game. And then, when we left India, we went in Malaysia, where there is this amazing, unexpected board game community that you really wouldn't think, but Malaysia, especially in Kuala Lumpur, it's a huge city, and there is tons of board game cafés, and the board game community is amazing, and so we've been to many events there. We've been to convention, and we showed the game, and we met many people. It was just incredible.

Kate Tessier: Then we left Asia, after 10 months, and we went to Greece, in Athens, where I had friends there from the board game community, actually, and then we did other events there and everything, and everything about board games for Wardens, obviously. And now we are in Italy, and we settled here a little bit, because, you know, traveling all the time, always having to move, and to work on, “Okay, like which train am I going to take? Where am I going to sleep?” and everything, this is very exhausting.

Kate Tessier: And just having no home, you know? Just having no place to belong to is very hard, so we needed to settle a little bit, so we found this amazing little apartment in the middle of a field in Italy, so we are very happy here. So, we are just very quiet, and peaceful, and we are getting ready for launch the Kickstarter here, actually.

How Do You Travel and Make Games?

Patrick Rauland: So I was going to ask, I mean, I've lived in my place for over, I think, two to three years, and I was just thinking about how easy it is for me to order like game supplies, and prototypes of my game. When you're traveling around the world, is it hard to order prototypes and stuff like that?

Kate Tessier: Especially in Asia, everything is hard. Like, everything. Like, I think everywhere in Asia, just having internet connection is very difficult, just having electricity. Like, in some places, we barely had a steady electricity, so only this is just like a small idea that you can see that no, it's very not easy, but in Malaysia, in the big city of Kuala Lumpur, it was a little bit easier, and this is where we printed our latest prototype for the convention and the events. And it was great, you know? Like, a very good printer there and everything. We still had to print our miniatures from Shapeways America and have it shipped all the way across the world, but you know, this is just a detail. But yeah, like everything is very difficult when you travel, but it's worth it.

Patrick Rauland: Yeah. No, I bet. Oh, man. I can't even imagine. I'm imagining the cost of miniatures from Shapeways is expensive, and then the cost of shipping those miniatures to you in Kuala Lumpur was also pretty expensive.

Kate Tessier: Oh, god. Making a game is expensive, like incredibly.

Patrick Rauland: Yeah, that's so interesting, because we think it's just cardboard, but yeah, if you're traveling, or if you're doing this, or you just want to order all these new prototypes, it can cost quite a bit.

Kate Tessier: Yeah, exactly.

Does Game Design Energize or Exhaust You?

Patrick Rauland: So let me change gears just a little bit here. You know, when you're … I mean, you've been designing this game for a long time. Does game design energize you, or does it exhaust you? Yeah, how do you balance all of that?

Kate Tessier: Well, first, like at the base, it really does energize me. Every morning for the past couple years, I've been very excited to work on Wardens, and it's been that way since the beginning, really. Whatever the part of the designing process I'm in at that moment, I find it very captivating. Since we are only two people working on Wardens, we do everything ourselves. Sam is the artist. He's the one who did all the artwork, the sculpts, the miniatures. He worked on the video on the promo page.

Kate Tessier: And I'm the one doing everything else, so in the last year, I learned so many things, things that I didn't even think I would be doing, and things I didn't even think existed, but I learned to do it. I imagine the universe and the backstory of the game. I wrote the whole storybook, which was very difficult for me actually, because of the language barrier that comes before me every day. It's very difficult for me. Like, every time I'm doing something, I need to learn a little more in English, and I need to get a little better in English like every day. And I learned, you know, how to create a website, how to do a tabletop platform, like how to print prototype, like you said, how to organize event at a convention, like contacting all these people that you need, like manufacturer, and fulfillment center, and everything.

Kate Tessier: So, like every day is new, and every day is learning something new. When I started designing Wardens, I really had no idea that I would have so many roles. To answer your questions, it is very exhausting. I cannot lie to you, but I'm very happy to do what I do every day, and I believe in my project a lot, and I want to push it and to give everything I have, even when I'm exhausted.

Patrick Rauland: I love all of that, and you know, I was just thinking … I didn't realize this before, but I am so lucky that I speak English, right? So for me, when I contact manufacturers in China, you know, they write to me in English. Not great English, but they write to me in English, versus for you, they write to you in slightly broken English, and then you have to translate that in your mind to French. Like, that's got to be twice as hard.

Kate Tessier: Exactly, and I have to translate words that I don't even know exist, like manufacturer words, and expressions that I don't even know that exist. I need to figure out what it means, so yes, you are lucky.

What Does Success Look Like?

Patrick Rauland: Wow. I give you mad props, because I've gotten some quotes from manufacturers for my game, and there's one manufacturer who I heard is really good, but just the English that came through him like, I don't think we're speaking about the same thing. Yeah, that's really tricky. So, we've got a little bit time left, so I kind of want to ask you, like … I guess I want to ask you about your goals with this Kickstarter. Like, what do you consider success for this Kickstarter? Like, what would you need to have happen for you to go, “Yes, we did an awesome job”?

Kate Tessier: Well, to say that we were successful would be to fund. Like, just to make this project possible, you know? Because we've been working on it for two years, and just to make it possible, and just to receive the actual box, like in my mailbox, you know? Like, just to receive the game and to open it, and that it's my game. Like, this is success for me. It's just to get to play my game, and show it to everyone who wants to see it. So this would be success, just to make it possible. Of course, we have many other ideas for after Wardens, so if we can have the opportunity to keep going and to continue to do other games, this would be very a dream come true.

Patrick Rauland: Love it. I mean, I love when funding the game is success, and of course, you kind of want to do more, but like hey, if you fund, that is success.

Kate Tessier: Exactly.

Overrated Underrated Game

Patrick Rauland: Love it. All right, so I like to end my show with this little game. I call it Overrated Underrated. Have you by any chance heard of it?

Kate Tessier: No.

Patrick Rauland: Okay, great. So, basically I'm going to say a word or a phrase, and I'm going to force you to take a position if you think it is overrated or underrated. So if I said bottled water, you might say it is overrated because it's bad for the environment, or you might say underrated because it lets you carry water with you anywhere. Got it?

Kate Tessier: Fine. Just to make sure that these are expressions that I know in English, but I think it's going to be fine.

Patrick Rauland: Okay, yeah. All right, so the first one, games that only have a solo mode. Are they overrated or underrated?

Kate Tessier: Well, for me it would be overrated, because I like to play with my family and with my friends, so for me, I wouldn't enjoy it, so for me it would be overrated.

Patrick Rauland: Love it.

Kate Tessier: Okay.

Patrick Rauland: Yep, yep. You're doing it right. So, post-apocalyptic games, books, and movies. Are they overrated or underrated?

Kate Tessier: Well, personally it would be underrated, because I love it so much, and there should be more. Like, they should make more games about it. They should make more movies about it. I would be so happy, so yes, underrated.

Patrick Rauland: Love it. And something kind of specific to Kickstarter/board games, how about mailing lists? Are they overrated or underrated?

Kate Tessier: I don't know what you mean here, sorry.

Patrick Rauland: Oh, like an email list. Like, how important is that?

Kate Tessier: Well, I think it's important. Like, as a backer especially, when I'm a fan of a publisher, I want to receive every news and every update, and I will be very happy to receive my email, and I will read it all. So for me, it's very important as a backer.

Patrick Rauland: All right, and since we're recording in fall, pumpkin spice lattes from Starbucks, overrated or underrated.

Kate Tessier: Underrated, because I cannot have it right now, and I'm very sad, and I wish I could.

Patrick Rauland: Just stop on by to Denver. I'm sure it's only like a 20-hour flight or something. You can stop by, I'll get you a pumpkin spice latte, and you can fly back.

Kate Tessier: Yeah, exactly. That's exactly what I need to do tomorrow morning, like get a plane flight and just go to Starbucks, and just come back after.

Wrap Up

Patrick Rauland: Love it. Well, thank you for being on the show, Kate.

Kate Tessier: Thanks to you for inviting me. I had a lot of fun. Thank you.

Patrick Rauland: Where can people find you and your game online?

Kate Tessier: Raventales.com is the website, so you can find everything online. We have also Facebook, Raven Tales, so it's not complicated, just Raven Tales, and you are going to find us.

Patrick Rauland: Very cool. By the way, listeners, if you like this podcast, please leave us a review on iTunes or wherever you listen to this in your ear holes. If you leave a review, Kate will try to summon Cthulhu in your name, which I think is a very kind offer. You can visit the website at indieboardgamedesigners.com. I will have a transcript or a sort of summary of this podcast there. You can follow me on Twitter. I'm @BFTrick, B as in board games, F as in Fun, and Trick as in trick-taking games, and recently, I put up a page on my site all about my progress on my game, called Fry Thief, so if you want to follow along and learn about my upcoming Kickstarter, then you can sign up on the site. That's all from me. Until next time everyone, happy designing. Bye bye.

Kate Tessier: Bye bye.

Patrick Rauland: Hello everyone and welcome to Indie Board Game Designers podcast where I sit down with a different independent game designer every week to talk about their experience in game design and the stuff they've learned to get to where they are today. My name is Patrick Rauland, and today I'm talking with Jordan Draper who is the designer behind a whole range of games. Such as Tokyo Coin Laundry, I'm gonna totally butcher this one, Tokyo Jidohanbaiki

Jordan Draper: You did ‘Tokyo' perfect.

Patrick Rauland: Tokyo Metro and a ton more. I know you can't see the games in front of you, 'cause this is a podcast, what is incredible about these games is they have really, really cool components which we are absolutely gonna talk about in the show. Jordan, welcome.

Jordan Draper: Hey. Thanks for having me.

Introduction

Patrick Rauland: Cool. So, I'm trying to do a little segment to welcome guests to the show. So, just before we get into the awesome questions about the components of your game, tell me a little bit more about you. I got three quick questions. If I met you at a convention, what is a game that you would definitely play with me?

Jordan Draper: Tokyo Highway.

Patrick Rauland: Tokyo Highway. Is that a game you designed, or is that a game someone else designed? ‘Cause it has the pull of Tokyo.

Jordan Draper: That's a game by a Japanese designer, and a company called Itten, that I'm good friends with. But, it's nice, because it's a strategic dexterity game that plays pretty quick. So, when you're at a convention that's exactly what you want, something quick and easy, that's fun to sit down, it's only two players. It's great.

Patrick Rauland: Love it, love it. Your favorite food?

Jordan Draper: Probably baked mac and cheese.

Patrick Rauland: Baked mac and cheese. Oh, my God. That sounds amazing.

Jordan Draper: Yeah.

Patrick Rauland: If you could only live in one place for the rest of your life, where would it be?

Jordan Draper: Tokyo, Japan.

Tell Me About Your Amazing Components

Patrick Rauland: Tokyo, Japan. All right, cool. So, let's talk about your games. If it's all right with you, I'm gonna try to get a couple pictures from your blog and I'll include them in the transcript, just to show some of these people, but you have … So, I'm just gonna pull up one game as an example, Tokyo Coin Laundry. You have these little washing machines, these little dryers, which look about two to three inches tall, and they actually open. They have detergent bottles and coins, and even some … kind of like clothing. I haven't ever seen components like this. What prompted you to make these realistic and unique components for your games?

Jordan Draper: Yeah. So, I really like setting a theme or an environment and living inside of that, but also I've studied architecture, and I'm self-taught in pretty much everything else that I do, and I love products, like well made products. So, I wanna bring product design into games, because it's not really there in the industry right now. I think as far as it gets is basically minis on stands.

Patrick Rauland: Yeah.

Jordan Draper: I don't see any reason why we can't have functional items or really well made thought out iterated products that have gone through months and months of design work to use inside of the game. So, if I can hit all of that together within a game and then have gameplay on top of that, that's incredible. That's basically my goal.

Patrick Rauland: I wanna ask you more questions about your components, but are you the person that is creating these … 'cause I believe you 3D print them. Are you the person that creates the 3D files and does all that product development?

Jordan Draper: Yeah. So, I do literally 100% of everything on all the games. From running the Kickstarter to designing the components, doing the graphics, the artwork, manufacturing, fulfillment, the whole nine yards. I just got a nice SLA 3D printer … What was it? Like, eight or nine months ago, which was great, because I could really get down and iterate with Coin Laundry. Before this, I made Jidohanbaiki, which is a game about vending machines. I had little drinks in an actual vending machine tower that you drop the drinks into. So, that was like months of iterating with Shapeways, 3D printing stuff and sending it to me.

Patrick Rauland: Oh, wow.

Jordan Draper: It makes a world of difference to have a 3D printer.

Patrick Rauland: Oh, absolutely. I can't believe you made a game with 3D printing components and having to go to a vendor, like Shapeways, that'll just … Yeah, you can upload your designs and they print it and send it to you, but that's a whole different thing.

Jordan Draper: Yeah.

Patrick Rauland: There's weeks between each iteration, I imagine.

Jordan Draper: Yeah, totally. It makes you think a lot harder, actually, about what you're getting every time you turn something in, because you're like, “All right, now I gotta wait three weeks and this is really expensive. So, I need to make sure that I'm at the point where I think it's gonna be where it needs to be.” Doing some virtual tests and stuff like that. So, just having one at home was really nice. I probably printed almost 100 different iterations of the washing machines to get them where I wanted them to be.

Patrick Rauland: Yeah, there are a ton … While researching this, there are a ton up on Twitter. If you just go to your Twitter profile, there's just a ton of … It's really cool, right? ‘Cause I think you showed some models that didn't work, like maybe the top was a little bit … it looked like it was melted, or something didn't quite form right in the 3D printing process. I have to say, it's really cool to see that.

Jordan Draper: Oh, cool. Yeah, yeah. I mean, I wanna share some of the process. What you didn't see is a graveyard box of tens and tens of different kinds. I made them different shapes, taller, thinner. The door mechanisms open differently. I was trying to put a sand timer inside of them at one point. So, I made a slot that you'd slide the sand timer into and then it would time for the laundry and you'd pull it out when it was done, just trying different things. That's the fun of having all that stuff at home, when you can 3D model yourself, 'cause you can just keep running through the process over and over again and get it exactly how you want it before you have to say ‘go' and make it into this mass produced thing.

Why Don't People Go as far as You Do With Components?

Patrick Rauland: That's so fantastic, I love it. Okay, so why don't other people put the amount of time and attention into components that you do? Because, I think if someone else did this coin game or they did the vending machine game, or there's the cool shipping container game, I think it would just be a max that says, “This is the shipping container. Put all your items in the shipping container and take them out when you get to the side.” Like, it would just be an area on the board. It would just be a token. It would just be a token that says ‘washing machine'. Why do people not go farther?

Jordan Draper: I think it just comes down to the fact that the industry has set up a standard for what's okay and everybody just follows this model and they aren't used to thinking about doing something different, or they don't have the means to make something 'cause it's more expensive, of course, to make 3D actual pieces. But, a lot of the bigger companies, they don't need to take the risk, because they have a model that works. A lot of the medium companies, that are somewhere in between, maybe they don't care to. And, the smaller companies, it's usually a cost per item thing.

Jordan Draper: For me, I came from product background and I've been making things my whole life. I love DIY stuff. My goal from a kid has been to understand and be able to make anything that exists in the world. So, I made a sofa from scratch once, just 'cause I wanted to learn how it was done and do the research. I'm that kind of person, where I don't care if it pays off, I just wanna know how to do it. So, bringing that in to game design, as soon as I saw how the industry had been running, and playing games for five to ten years, I was just blown away that everything had to be made out of paper or chipboard and there wasn't exploration into materiality and there wasn't exploration into forms. I decided that that was the thing I could bring, and I love playing games, so I just took a crack at it and it's been working out so far.

Patrick Rauland: That's really, really cool. I'm just trying to think about what games would look like if they had more components and more … Not more components, but more-

Jordan Draper: Thoughtful components, yeah.

Patrick Rauland: What's the word?

Jordan Draper: I would say thoughtful components.

Patrick Rauland: I really like that. So, I'm curious, I imagine your games are fun enough that people just play with the components, right? It's not a game, but even adults probably go, “Oh, wow. I can put the bottle into the vending machine and I can get it out of the bottom. That is really cool.”

Jordan Draper: Yeah, that was actually the goal, oddly enough. In this series of games I'm doing about Tokyo, basically four of them will be games where guest designers came in and made their own game rules using the components that were there. But, from the get-go, the idea was always to just make the components and then have people be able to take those and make a game out of them. So, I actually design all the components in those games before I design any games, so that I'm on the same footing as everybody else.

Patrick Rauland: Mm-hmm (affirmative).

Jordan Draper: I like to take them and put them in front of kids or other people that I know that like games or don't and see what they start doing with them. If they're immediately drawn to start fiddling with them and trying to come up with something, then I know I'm probably on to something good. So, my nephews take the Jidohanbaiki pieces, and the drinks and everything, and just started bringing them around in different crates and playing around with different rules. I think, if you can encourage that creativity within a set of components from the get-go, then you're gonna have a good product that turns out to be a good game.

What Would Games Look Like With Experiential Game Design?

Patrick Rauland: That's really, really fascinating, because I think when you make a thing … like this little toy washing machine, this little toy vending machine, or any of the other stuff that you made, I almost wanna call it experiential game design. Where you basically put it in front of people, and you just study them, then you build on what they would naturally do. Where you can't just put down a blank card in front of someone and see what they do with that, right?

Jordan Draper: Right. Yeah, it was actually a nice experiment to see what would happen if I had different designers come in and take those pieces, because everybody thinks differently. So, the Japanese designers that I worked with, they made completely different games than what I made. Some of my friends from the Netherlands and Germany made stuff that was off the wall in a different direction. Different mechanics, different types of games. Some of them made solo player games and others made economic investment games. That's just cool that that system can live up to all of those different types and still keep it simple, because you're working within the parameters of the pieces. I think on of my biggest things that I don't like about a lot of the heavier games in the industry now is that they just have too many things in the game. There's too many components. There's too many extra bits and texts and whatever that doesn't need to be there. I think design should be as minimal as possible to be good, which is a very Japanese way to look at it, but that makes sense to me.

Patrick Rauland: For me, personally, I always struggle between intuitiveness and crunchiness, 'cause I think a lot of people who like games like the crunchy, think-y, math-y part of it, where it's this really hard thing to figure out. By the way, maybe that's my bias, like maybe those are the people that I play with. But, I tend to like games that are a little bit lighter, less than an hour. Sometimes they can be kind of visual, right? They can be … I imagine I could play some of your games and they'd fit that bill, but a lot of people, they want to have like, “Play this card now and it gives you this many resources. Play it next turn, it'll give you slightly less resources. Play it the last turn in the game and it's worth 500 resources.” It's really, really hard to get simple components and simple games with … I don't know. How do you balance the crunchiness, that I think people want, with beautiful products?

Jordan Draper: Yeah. I mean, there's never a reason why you can't put those layers of depth into simple components or just a very simple play set of options. So, I like to play very heavy games and I design, I think, both ends of the spectrum, like Tokyo Metro is about a two hour economic trade investment game. There was no reason to cut back on the components or change anything to make it so that there was more depth or more choices. So, the only thing you can do in the game is work replacement and there's 12 different actions you can take, which have some overlap, and everything else just kinda melds out of that as you play the game. I mean, that's probably the further end of the spectrum. I think if you can limit the number of choices that players have, make it very simple to understand what they can do on their turn, but then build the layers of depth on top of that, because everything else flows out from that, and then keep the game balanced from players making decisions instead of the game deciding how it should be balanced, seems to be a good approach, for me anyway.

Patrick Rauland: Wow, I love it. So, I wanna talk to you about … You said, with some of your games you make these beautiful components … Is components the best word, by the way? I feel like that's a board game word, does that make sense with what you do?

Jordan Draper: I mean, I wouldn't look at it that way, but I'm also probably … Just because I've done sculpture exhibits before and I've worked a lot with metal and done some other things, I look at my games as a miniature art gallery, and I would look at these as sculptures really.

Patrick Rauland: Wow, cool.

Jordan Draper: Pieces of art, but that doesn't mean that they're not playable or enjoyable, which I think is really important. I want everything to be approachable, so you wanna go touch it and everything. But, that doesn't mean it can't be a work of art at the same, because I am sculpting all these by hand.

How Do You Work With Other Designers?

Patrick Rauland: Wow. All right, cool. I'm gonna go with ‘sculptures' for this episode. So, you make these sculptures and then you make at least one game, but then you also work with other people, and you kind of see what games they make. How does that work? Because, when you're making this Kickstarter page, do you advertise one game, the game you made? Do you advertise all the games that everyone made? If you do the latter, isn't that confusing to the backers?

Jordan Draper: So, the way that it's set up is, I make three games that come together each year. So, I'm making 12 in total. I actually design all of the games. So, two of the games I make all of the components and everything all the way through the game play and whatever. The third game is a very special one that's sort of set up as an experiment that I've been doing, which I make all of the components and do all of the artwork and everything, just as I normally would. Then, I'll design, usually, three or four games that you play as micro games inside of this. Then, all the guest designers that I ask to be part of it, they also make a micro game inside of that. Then, they get an advertisement inside of the game that's permanent in the box that ships with the games. So, they are also working with me on that particular title, but overall, the games are still my published games that I've worked countless hours on. So, kinda totally due to them and I love everyone that's been participating. It's so unique to see what they're bringing in to the games as a series. But, for me, I think the overarching umbrella is that is just the fact that I'm making this big system and seeing where things can flow within it as a framework if that makes sense.

Patrick Rauland: Yeah. No, I love that. Sorry, I was looking up some of your games on BoardGameGeek just ahead of time, again for research, and I was like, “Wait a second, if this is multiple games, how do people rate that?” ‘Cause if they love one game, one mini game, and they wanna give it a 10, but they hate this other game, and they wanna give it a zero. I just imagine that that's complexity and …

Jordan Draper: Yeah, I don't really know either actually. Well, besides the … I think it's called the Pyramid Arcade, which had a similar concept to this, but it was done over a lot longer time period. I'm not sure how that has been rated on the Geek. I think they look at that as a bigger macro experience, but I'm interested to see what happens with my games, because I know some people have not liked some of the little particular ones, but also there's over 20 games now. So, I'm sure there's something that everybody will like if it's in different category of mechanics. I would be shocked if somebody didn't like all of the 20 plus games from every single one of the designers, but you never know.

How Do You Get Started in 3d Design?

Patrick Rauland: Totally. So, let's say maybe you have a 3D printer, maybe you don't, but you do wanna start looking into making more … God, let's go ‘sculptures' again. You wanna make something beautiful in your game, more than just a cardboard token. Where do you get started with that whole process?

Jordan Draper: For me, I design mostly in Rhino 3D, which is a software for doing 3D modeling, I also use Fusion 360. So, these are like … There's a little bit of a learning curve to get into 3D modeling, but it's nothing crazy. If you were somebody who wanted to start doing this, but you didn't have any skills in 3D modeling, it is totally possible to do a basic sketch, or if you can't draw, then you can even just go to somebody else who draws or does 3D modeling and work with them to make that, as a starting step. Then, you can kind of refine it as you go and get an iteration of it and tell them what you want them to fix. For me personally, since I do it all myself, I usually just start modeling straight away, or I'll make a line drawing in Adobe Illustrator, which I also use a lot. Then, take that into the 3D modeling software and just extrude it into a 3D object and start sculpting it a little bit and changing some of the dimensions.

What is it Like Theming Your Game Around Mundane Topics?

Patrick Rauland: Maybe let's take a step back, because your games are kind of about mundane things, right? Like a washing machine, a vending machine, and the subway are not like … It's not like armies fighting over the world or economics and you're trying to buy this and do this, or at least they aren't all necessarily that way. Should you focus on small things like washing machines or … Should I focus on building a bike, like something more simple, but that would be a really cool component? Or, can you take this into some of those bigger games, where it's dudes on a map and you're trying to conquer the world, or something like that?

Jordan Draper: I mean, I think you could take it anywhere that you want to. I sort of call the ideas or the themes mundane on purpose, as sort of an inside joke to myself, because I absolutely love everything about like drinks in Japan. I got so excited when I found out there was so many different vending machines and drinks in Japan, I had to try all of them. I love mechanics and washing machines are fascinating. I love the feeling of being in a laundromat. So, for me, these are super inspiring things, but I totally get that they're every day objects that people don't think about. So, my goal was to bring that joy and excitement to other people by having them, hopefully, have a similar experience that I've had through that environment. But, that being said, I think if you're passionate about making something and you're passionate about a theme, you just need to find a way to convey that to other people without being present. So, however you wanna do that inside of the game, I think you should go for that. If you're just gonna repeat something that's already been done, and you're just gonna cut chips out, and have some of the same stuff, I don't think you're gonna accomplish that goal.

What Games Inspire You?

Patrick Rauland: Right, totally. What sort of games out there do inspire you? Besides awesome Japanese soda, what games out there inspire you?

Jordan Draper: Lots, there's a ton of good games. I think there's quite a few not so good games, but … Lay Waste Games, who I'm good friends with, they have a game called Dragoon which is really awesome. They actually cast their own 3D metal pieces of their dragons and the dragon dens and stuff. So, it's really fun to be immersed in that, which I enjoy. Japanese publishers are doing always genius things, I think, because they work with very minimal things, and then they pull out something that's really incredible that has a lot of strategy. Oink Games does really cool stuff, In a Grove is an interesting one from them, Startups is an interesting one. I'm pretty into these niche Japanese designer games lately, because they're light to middle weight and I travel so much that I don't have my consistent group to go back to.

Patrick Rauland: Ah.

Jordan Draper: But, back when I was in Salt Lake, I would play a lot of Sierra Madre Games, were pretty interesting. Like, all the Pax games are fun. They're not strategic at all in my opinion, besides one by Cole Wehrle, Pax Pamir. Phil Eklund is a designer and he always puts in these really in-depth stories of history and the game has so much narrative and things going on, but you more just have to play through it without expecting to have too much strategy. But, that as an idea is interesting, because nobody else is doing that. Nobody else is rewriting history in such a way that we can't control what's going on. This would've happened if you were actually living in the time, you wouldn't have had control over what all the governments did and all these other people that were outlaws were doing. I think that's a fascinating idea, to turn that into an experience and a game.

What Resources Do You Recommend?

Patrick Rauland: I love that. I have to say for me, I do love games that have alternative history, where it's like, “If this one thing was different, this is what the world would look like.” My friend loves this game, I think it's called Leviathan or maybe Leviathans, but it's like if we discovered this lighter than air molecule … Then, it's about ships flying through the sky … Battleship flying through the sky. I'm like, “Yes. I wanna play that game. I want to …” Also, that's probably a great time to have sculptures. They do have minis, because who doesn't wanna play with giant battleships flying above the earth? That sounds super fun. Okay, so are there any resources out there that you would recommend to someone who wants to do their own thing? Someone wants to run their own design company? Board game.

Jordan Draper: Yeah. I mean, if you wanna do your own designs and publish your own stuff, you should definitely look into using Kickstarter, it's an incredible tool. It can sustain you, if you're smart about how you go about it with your funding. There's quite a few lessons on it. I would take all of them with a grain of salt, but Jamie Stegmaier's written some good stuff on his blog, from Stonemaier games. But, at the end of the day, if you really wanna do it, you should go out and start talking to publishers who are doing this. They'll talk to you and give you their time, if they're not super huge, or sometimes they will even if they are super huge. I learned a lot that I wouldn't have known if I hadn't gone out and started meeting people in the industry and seeing how they were doing everything and what they were doing. So, I kinda mixed that with just forging my own path, and I got a pretty good entrepreneurial spirit where I don't work well working for anybody else, so I kinda already knew I'd be doing my own thing. So, I have the passion to do it, which is very helpful, and I'm willing to make the sacrifices to prioritize it. Learn from other people is the biggest thing.

How Many Kickstarters Have You Run?

Patrick Rauland: Love that. I think you've run five Kickstarter's, is that right?

Jordan Draper: I've run, I think, seven or eight now.

Patrick Rauland: Oh.

Jordan Draper: But, some of them were failures and nobody knows about them, so that's fine.

Patrick Rauland: Oh, okay. ‘Cause I was looking at your Kickstarter page and it said five, but maybe it doesn't show the ones that didn't fund or something.

Jordan Draper: Yeah.

What Have You Learned About Kickstarter?

Patrick Rauland: What have you learned from those? What is a thing on your first Kickstarter campaign you did poorly, and now you don't make that mistake anymore?

Jordan Draper: Yeah, I mean, the very first Kickstarter campaign that I ran was interesting. I did it for some leather wallets that I was laser cutting. I set the goal at $10,000 when I should have set it at $1,000 and bought a cheaper laser cutter, but I was like, “I'm gonna raise $10,000 and buy this really nice laser cutter.” I think that's a big mistake a lot of people do the first time, they set a goal too high or they think that it's gonna be easy to do without putting in a lot of the background effort and doing the research for why they succeed, why Kickstarter succeeds.

Patrick Rauland: Yeah.

Jordan Draper: Then, another great thing, for me, was that I made the first three games that I did by hand. I made the boxes and everything by hand. Because I did that, I was able to do a print run of 150 games.

Patrick Rauland: Oh, cool.

Jordan Draper: If I hadn't done that, then I wouldn't have had enough money to manufacture them. So, that was literally the make or break. I would've just had two or three failures instead of three successful campaigns that built an audience and then launched me into a much bigger game. So, whatever you have to do to make it work, try it out and make it work, and don't get ahead of yourself and don't try to set too high of a goal. Think small, take small steps. When you get there, take the next step and keep working your way up until you're where you wanna be.

Do You Recommend Small Print Runs?

Patrick Rauland: So, this is actually really relevant to what I'm working on right now with my game. It's a little micro card game, called Fry Thief. It's about 17 cards and some tokens. I've talked to a lot of manufacturers in China and a lot of them have minimums of 1,500 units. I've heard from some people there's minimums of 1,000 from this person or whatever, but that's a lot of units. Even for a tiny game, I think with shipping and everything included, I think I'd have to have a funding goal of $5,000 which seems really high for me for a first time creator. So, I'm doing a ton of research into can I do this smaller with less components? Or, can I get a different … Now, I'm looking into, can I reach out to this manufacturer and get a box from them? Just 250 boxes. Then, get the cards from these people. I'm trying to source the pieces individually. Is that something you'd recommend, or do you-

Jordan Draper: Yes. You're doing the right thing. Basically, I would say set the goal as low as you can the first time through, just in case. What you'll do is you'll set up … You should set up a plan B, plan C, plan D, plan E, and plan F for ‘if it gets bigger, what do I do? If it gets bigger than this, then where do I go?' I would suggest, first of all, to … If you wanna make not even 500 copies, 'cause it is possible to do 500 copies with certain manufacturers, but I would recommend just sourcing the cards and tuck box, potentially, from someone like Printer Studio. Which the quality is not the best, but I printed all the cards in my first two games from them, they're still around and people aren't complaining. So, they can't be that bad. But, that way you literally have no print run conditions. All you have to do is figure out your margins and say, if I'm gonna make 50 copies, which that's not a bad place to start, then you can look at how much does it cost to get 50 decks. They'll make tuck boxes for you there, or you can get custom ones made. But, if you are gonna do that, I would at least get a sample and make sure it's how you want it to look.

Jordan Draper: Yeah, set your very minimum, and then know how you can get it and how much it will cost and then set your goal there. So, you do want to have some wiggle room, of course. I mean, you need to throw in probably a couple 1,000 extra, just in case something goes wrong or whatever, but maybe you're only looking at a goal of $1,500 dollars then or $1,000. If it's not a big deal to you to break even, you can set a super low goal, and then you can just scale it up from there. If you have a success, that's great, because the next time you make a Kickstarter everybody's gonna come back from the first one, and then you're gonna have more people and you'll gain momentum every time.

Patrick Rauland: Cool, I love that and I appreciate hearing that, because the numbers were good from when I'm getting 1,500 units from China, but I just was not confident I could get that many copies sold or even a third of that many copies sold. But, I'm pretty confident just with friends and family and an extended network, I can get 100 people and then build from there.

Jordan Draper: Yeah, that's a great place to start. That's awesome.

What Does Success Look Like?

Patrick Rauland: Thank you. Okay, so I like to end with two questions here. Number one, what does success look like to you?

Jordan Draper: I'll tell you, for me personally, I mean, I also do some architectural designs that I'm working on for shipping container homes on the side, which I wanna launch into another company. So, for me, I'm using this as a catalyst to get to that.

Patrick Rauland: Really?

Jordan Draper: So, success for me is a certain number of dollars in the bank to launch that other company and still continue success. But, I want to have all 12 of the Tokyo series games done in a nice package, so that they exist and I can keep having this online database of rules. I would probably label that as like my published success.

Patrick Rauland: I love that. Sorry, container homes? Like, is this when a shipping container is being old or not being used anymore and you can stick 'em together and cut holes in 'em and make it something livable?

Jordan Draper: Yeah, I'm sort of taking that concept a step further, because I've designed a prefabricated glass reinforced concrete panel system inside, so you can put this inside and rearrange your house as you want to. Then, you have these peg holes to hang shelves or whatever you want on the walls. The idea is you can actually ship the home, because I'm not altering it so much that it can't be shipped anymore. So, it goes on temporary foundations and then you can move your home wherever you want.

Patrick Rauland: What?

Jordan Draper: It's super affordable, off the grid. That's the whole pitch of it.

Patrick Rauland: That's so cool.

Jordan Draper: Yeah, thank you.

Overrated Underrated Game

Patrick Rauland: That is super cool. All right, we'll have to talk about that off the air later, 'cause I used to be into tiny homes and I could talk to you for hours about tiny sustainable living stuff. I don't know if all the audience wants to listen to that. Okay, so I like to end my show with this little game called Overrated, Underrated, have you heard of it?

Jordan Draper: No, I don't think so.

Patrick Rauland: Excellent. Good, I like throwing people into the deep end. So, I'm going to throw out a word or a phrase, and then you're gonna have to give me a … you have to respond with if you think it's overrated or underrated. So, if I say Tokyo, is it overrated or underrated, you're probably gonna say, “It's underrated, because there's all this cool stuff,” and give me a one or two sentence explanation. Got it?

Jordan Draper: Cool. Awesome.

Patrick Rauland: Now, you were at Gen Con this year, right? Perfect, so Gen Con, overrated or underrated?

Jordan Draper: This is my first time, but I guess I'll go with underrated. I don't have enough experience yet. It was fun though, I had a lot of fun. I think I get overwhelmed at conventions and I don't get to experience them as much as I should.

Patrick Rauland: Yeah.

Jordan Draper: So, I'm gonna say underrated. I got more time to spent there.

Patrick Rauland: Awesome. Laundry in your apartment unit, overrated or underrated?

Jordan Draper: I think overrated, because, obviously, I made a game about laundromats and I like to go out to the laundromat and have some unique experiences and just kind of relax there. It's a very nice place to go and forget about the world. You can't leave, because you have to wait for your laundry, so you just read a book or do whatever, it's great.

Patrick Rauland: The good old fashioned D6, overrated or underrated?

Jordan Draper: Definitely overrated. I have made a rule to not use them in my games, and so far I haven't used any.

Patrick Rauland: Oh, that's so funny. That's so cool. You made a rule about it.

Jordan Draper: Yeah, I mean, it's kind of a personal thing that nobody knows about, but there's no dice in my games, you'll notice.

Patrick Rauland: Very cool. Lastly, Thingiverse, which for those of you who don't know, it is a website where you can look up all these cool 3D designs. Is Thingiverse overrated or underrated?

Jordan Draper: Probably underrated. There's not enough people in forum settings talking about 3D modeling and doing different things within that. If we can hit that and have that become a mainstream thing, then we are gonna move forward so fast in design work and hopefully having better designs, but we'll see if the masses care enough or not.

Wrap Up

Patrick Rauland: Cool. So, Jordan, thanks for being on the show. Where can people find you online?

Jordan Draper: Yeah. Thanks, Patrick. People can find me on Twitter, I'm @TheJordanDraper. Same with Instagram. Then, my website is www.JordanDraper.com, you can learn about all my games there and where to purchase them. Then, I also have an email, feel free to reach out to me, it's just talk@jordandraper.com.

Patrick Rauland: Love it. Listeners, if you liked this podcast, please leave us a review on iTunes or wherever you listened to the podcast. If you leave a review, Jordan will buy you a mystery drink from a Tokyo vending machine. Does that sound good, Jordan?

Jordan Draper: A mystery vending machine, all right. Well, meet me in Japan first and we'll make it happen.

Patrick Rauland: Awesome. You can visit the site at indieboardgamedesigners.com. You can follow me on Twitter, I am @BFTrick. That's ‘B' as in board game, ‘F' as in fun, and ‘trick' as in trick-taking games. So, I've been mentioning Fry Thief in the last couple episodes. If you want to follow along, there's a page on my website all about Fry Thief, you can sign up for the newsletter and I'll share designs as they're coming out and stuff like that. I think that's all from me. So, until next time, everyone, happy designing. Bye-bye.

Patrick Rauland: Hello everyone, and welcome to the Indie Board Game Designers Podcast where I sit down with a different game designer each week and we talk about their experience in game design and the lessons they've learned along the way. My name is Patrick Rauland, and today I'm going to talking with Heather O'Neill, who is the CEO of 9th Level Games. They make very cute and cheeky games, and honestly part of the reason I wanted to have her on the show is that their first game is called Kobolds Ate My Baby! which is just the right amount of silliness I like in my games. So, Heather, welcome to the show.

Heather O'Neill: Hi, how are you?

Patrick Rauland: You know it's the end of the day, and that means it's good. You know it's kind of like … yeah.

Heather O'Neill: Great.

Patrick Rauland: So first of all, I noticed your title is CEO, and I primarily talk to indie game designers. Do you work for some giant mega conglomerate that is planning to take over the world?

Heather O'Neill: No, no, no. The title makes it seem like it is more. Actually I got involved about five years ago when we decided to start making some card and board games. It's a four person company. I just started kind of doing more of the business work, and more of the finance work, and it made sense when we incorporated to take that title is really what it is, but it's only a four person company.

How Did You Get Into Games?

Patrick Rauland: Got it. So remind me, your husband created Kobolds Ate My Baby!, and then you started doing more board game stuff.

Heather O'Neill: Right. So Kobolds Ate My Baby! is an RPG that came out in I believe 1999, so in 99 through 2012, I wasn't really involved, except for convention support, you know proofing, that kind of thing, little stuff like that, ideas because it was mostly a role playing game company at that time. Then when we talked about some board games and card games that I would like to make, and another friend of ours, Heather Wilson would like to make, we got more involved and actually started designing games, and actually got more involved in day to day business in the company.

Patrick Rauland: So why did you move from RPGs to board games? Was that a business decision? Or just like a personal passion thing?

Heather O'Neill: Well we didn't officially move, but we … We still make RPGs, but we were only doing RPGs up until that point, and I think just the invent of things like Kickstarter, and ways for the little guy to actually make something that you would usually only see on a Target or a Walmart shelf. There was an idea there, “Hey we can make card and board games now too,” which we've had tons of ideas for, but we never acted on it because making a book was so much easier to bring to market personally. So when we realized that, we started making more board and card games, but we still do RPGs, and we have one releasing in November, and we've got a couple planned for next year too.

Patrick Rauland: So Kickstarter really opened the doors for you, like it was literally enabling you to do more with your company.

Heather O'Neill: It did. Had it not been for Kickstarter, we probably wouldn't even have become the company that it is today. We relaunched a new version of Kobolds Ate My Baby! in 2013, and once we saw how good that Kickstarter did, we thought, “Okay, people still care about this from 1999. This is still a viable product. We can continue with that, plus now we know how to use Kickstarter. We know what we're doing,” or so we thought. But we did for the most part, and then we started full steam ahead on the board and card games.

Patrick Rauland: You know it's funny how fast we take things for granted because I think talking with game designers, they're like, “Of course we used Kickstarter,” and it's weird to talk to people who have been designing games since before Kickstarter, and they're like, “yeah it just wasn't possible. Like you couldn't raise the 15, the 20, the 50 grand whatever it is to make a game, so we never did.”

Heather O'Neill: Exactly. I mean it's similar to like how did we live without an iPhone before or a smartphone. It was only '07 when that came out. It's very similar. Like, “How did we live without Kickstarter,” in the gaming world especially because in the board game tabletop world, it is like the marketplace to find new games, especially for indie designers. It super opened the doors for us. Schrödinger's Cats was our huge board game card game that came out in 2015 on Kickstarter, and that's really what launched the line of board games for us.

Tell Us About Meeple Party

Patrick Rauland: Very cool. So your upcoming game, Meeple Party, which and I should say, so it's upcoming for me, but I have so many episodes recorded already that this is going to come out probably at the end, or after the Kickstarter has finished, so by the time this airs, it'll be the now released Meeple Party. It's kind of, and you can late pledge, I should say. It seems like a murder mystery party? To me it actually reminded me of a like more, not Clue, but if Clue was made today, this is what it would look like.

Heather O'Neill: You know what it kind of is? It's kind of like Sims the board game is the comparison that we make the joke of because you're right, it has got kind of got a Clue vibe. It is a house and you are meeting objectives by taking photos of things happening at a party. So instead of being with a candlestick in the conservatory, it's two party animals in the kitchen playing beer pong is the idea, or having cake. So it's a similar idea. There's an objective which is to take a photo of a specific situation at the party, and everyone's working together to move the people or meeple around to meet that situation, and that's basically the idea.

Components in Meeple Party
Some of the components in Meeple Party

Heather O'Neill: There's of course as in any real life party, potential disasters that can happen, like the cops show up or there's a fight or you know there's a heated debate, and everyone's uncomfortable, so there's always a crisis or disaster that you need to watch out for as well. So there's basically a condition that you need to watch out for, and conditions that you're all looking to get. There's five different types of meeple, so there would be a flirt, a jerk, a wallflower, a party animal, and a cool meeple. They all have a specific movement based off the type of personality that they have, and you use this movement to meet your conditions of the photos, is basically the idea of the game.

Patrick Rauland: Yeah, that to me seems like the most compelling part of the game, is I love the idea that like, I think the jerk, like when he moves it moves someone else a square away or two squares away.

Heather O'Neill: Two squares away, exactly. So and it's funny because when it comes down to it, when I designed it, we can get into this a little more when I talk about the design of it, it was quite abstract, and then I realized that all of the things I was drawing, to me looked like a house, and we were always the party house. I got married very young. I was the first person to have a house, so we always had parties at my house, so it just made sense for me to do this. So we put that on, and just made it really fun. So you have the fun vibe of it, but you're also doing a tactical movement as well, and you maybe don't even realize it.

Patrick Rauland: Yeah, that's funny, and also I think you just indirectly answered the age old question of theme or mechanism. It sounds like you came up with sort of an abstract movement game, and-

Heather O'Neill: I came up, yes. The five types of personalities, those movements is what I came up with first, and when I went through those movements, and was looking at the board, an coming, I had a bunch of different ideas for themes. When this one came up, I thought, “Yes, this is it.” Because like you said, we have a little bit of silliness. We don't do war games. We don't do zombie apocalypse games. We do like fun light games and I thought there's not a theme like this.

Heather O'Neill: This is what I, more interested in making a theme of something like a party, so that's where it ended up going, and this was probably close to two years ago that I had the idea, and since then, it's just been a lot of tweaking and changing things around, stripping a lot of things out of it. I probably took a six month hiatus as well, and had to put it on the shelf for a little while as I'm sure many designers do. You know I went through all the ups and downs of a design process, but here we are, and the Kickstarter as we're listening, probably just finished.

What Themes Do You Focus On?

Patrick Rauland: Yep, so your company's designed a bunch of games, and you actually, you just earlier said, “We don't really do fighting games or war games,” have you found any themes that work, resonates or don't resonate?

Heather O'Neill: Yeah, well we … though we don't really have like a formal mission statement that says this, for real one of our missions is we love anything with cute animals in it. So we're like, “If it's a cute animal game, we're probably in.” That theme, we'll make it work. So that's definitely something that we all like, and we can all get behind. Our audience tends to be maybe ten year olds to 15 year olds is some of our group, plus of course adults, so we try not to get too much past PG 13 with anything, even though this party game does involve drinking, we kind of keep it light, and that's the same thing we do with the animal games and those things.

Heather O'Neill: We've literally had a game come out last year called Bearicades where you are bears barricading a forest from lumberjacks. That was originally … originally it was a zombie apocalypse themed-game, but we met the designer, and we knew him for a while, and we really liked the game, but we said if we're going to publish it, it really doesn't fit our market, so we developed with him the bear and lumberjack theme of the exact same game that he had for zombies.

Patrick Rauland: That's so fascinating. I love that.

Heather O'Neill: So right, exactly. We really resonate towards that light kind of cute family vibe with an interesting twist. So Schrödinger's Cats is obviously about Dr. Schrödinger's thought experiment, however you need to know nothing about that to play that game, and we reference physicists and things, but it's a cute animal game at its heart.

Patrick Rauland: So if i could come up with … so if I come up with a game, Dog Ate Your Homework, you'd be like, “Yes.”

Heather O'Neill: Done. [crosstalk 00:10:51] exactly. Exactly.

Patrick Rauland: Alright. I will drop everything I'm doing and start working on that.

Heather O'Neill: Yeah, exactly, sounds great.

Patrick Rauland: Do you have like a favorite game or maybe a better question is are you allowed to have a favorite game when you're the CEO of the company.

Heather O'Neill: That's a good point. You know it's funny. If you were talking about what's my favorite game I ever designed, I'd say Meeple Party, but if it's from the whole company, you're right. I guess I'm not really allowed to choose favorites. But I think everyone loves Schrödinger's Cats equally, not necessarily even because of the gameplay even though it's good. Our artist is so great. He made cat versions of Neil deGrasse Tyson, and Madame Curie, and all these different people, and we made cat versions of them, and it's just so cute that everyone is just like this is the best game.

Patrick Rauland: Cool.

Heather O'Neill: Everyone in the company agrees that's our favorite one right now just because it was so fun to do.

How Has Your Process Changed in Regards to Kickstarter?

Patrick Rauland: Yeah yeah. So okay, we talked about how Kickstarter came out, and you were like, “Wow, there's opportunity.” How has your process changed since your first Kickstarter to the upcoming Kickstarter?

Heather O'Neill: Well, the market saturation is just like insane compared to 2013. If you had a game out in 2013 it might have been either the worst game in the world or the worst marketing campaign on Kickstarter in the world, and you probably funded. If you didn't fund back then, it was surprising. Now, you might have a great game, and a really good campaign, and you still can't fund because there's just so much saturation out there. It's hard to get through all of the noise, and as you know there's huge, huge games like Fireball Island or Ghostbusters, or big properties now that you're competing against. So they've already put $50 or $150 into this huge game. Now they're not going to have the money to put into your $39 game or your $19 game.

Heather O'Neill: So that's where it gets hard. There's a lot of huge companies on Kickstarter now, and everyone's using it as their marketplace. Which is great, which means there's a lot more people going to Kickstarter, but it does make it hard, and you've got to think things a little bit differently than we did five and three years ago. I would say it changed … in '16 we noticed some change, and then when we did the bear game in '17, we just followed the same model we had been using, and we didn't do as, we funded, but we didn't do as well as we thought we were going to do, and we realized later, “Oh a lot of things have changed here.” We need to do things differently, which is what we're doing for this Kickstarter.

Patrick Rauland: So what are you doing differently for this Kickstarter? Like what are the-

Heather O'Neill: Yeah, so what we're doing is a lot more lead up.

Patrick Rauland: Oh okay.

Heather O'Neill: It used to be, hey a couple months lead up, we have our following, we'll get it out there. Were doing a lot more lead up, so there's been more talk about this game for the last year. We're getting a lot more reviews, previews done before the Kickstarter than we would before. Before it was, hey, during the Kickstarter we would get contacted by people to do a review once the game comes out, or have an interview about what the game is or all the print and play. I'm noticing over the last few years, it's pretty much a requirement on a board game that you have a few reviews, videos up. You have to have you know a bunch of things already done before you even click launch where before, it was more, “Oh we see … we get what you're doing. We're understanding that this is you in the design process, or all the way through it, and you're trying to get this funded. We want to help you with that.”

Heather O'Neill: It's less of that now, and it's more, “I want to buy this game.” And this is a sell sheet for the game. So it is different, so if anyone's listening and they're thinking about a Kickstarter, it's not just, “Hey help me make this game,” anymore. It's more, “I'm a customer at a store, basically. Sell me this game.” That is a big change where things that had worked three and five years ago, just aren't going to cut it anymore. You have to just do some slightly different things. You've got to think about when you're going to launch. You have to market it a little bit different at the conventions. We were used to going to a lot of things that had role playing. Now we're going to a lot more of the tabletop and the [PAXs 00:15:18] that have a mainstream crowd because our games are more light. So it's that kind of thing.

Patrick Rauland: So I'm really curious about timing. Is there … Chester. I hear a little bit of an echo. But is there in terms of timing, is there something … like how do you plan that? Because you can't plan when the next Fireball Island is going to come out.

Heather O'Neill: Well right. Now there are sources if you delve into the Facebook groups of gaming and different things where you can hear what Kickstarters are going to but coming up, but you're not going to hear about them all. You can try to avoid launching during a big convention because everyone's away at the convention, or having a beer last day. You can avoid of course 4th of July and Christmas, and that kind of stuff. But there's a chance I could launch and then two days later, somebody launches that is a similar like game, and we're competing but it might also not because maybe that helps us. Which leads me to what happened on our Schrödinger's Cat Kickstarter. We launched. It's a cat game. We launched I guess on a Monday or a Tuesday in February, and the very next day, Exploding Kittens launched.

Patrick Rauland: Oh my gosh.

Heather O'Neill: And Elan Lee who makes it, he was the one who put the game up, I talked to him just as a fellow Kickstarter designer,, and said hey, we should do a cross over. You have a cat game. I have a cat game, and we did. When he was still only at 30,000 or something. Something ridiculously low, and that helped out a lot because he did put a little bit out about our game, and he retweeted about it and things like that, which helped. I mean we didn't make eight million, unfortunately, but …

Patrick Rauland: [inaudible 00:17:01]

Heather O'Neill: Yeah, we didn't make eight million, but we did well, and we were at first kind of concerned, “Oh there's another game,” it's not even remotely like it in gameplay, but it was about cats, and everyone was going to the Exploding Kittens page, but actually that helped because people who were new to Kickstarter who went there just for Exploding Kittens, were searching things about cats, and found our game. So we think that actually the thing we thought was going to be horrible, actually ended up being okay in that case.

Heather O'Neill: So when everybody's going there to buy Fireball Island, if they're the kind of people who have enough money, they're probably going to search around and look for other games. It does just become a hindrance when there are people out there who only have that budget, that's the game they're going to buy. Now they're not going to buy that new indie thing that they don't know anything about, right?

Patrick Rauland: So yes. I try not to worry about things I can't control.

Heather O'Neill: Exactly.

Patrick Rauland: And it seems like the Kickstarter release schedule is something you can't control right?

Heather O'Neill: Not really. There's some, right. There's some guidelines, but for the most part, you really can't control it, and if you've done what you're supposed to do ahead of time and prepped it, and you've got a print and play or rules PDF, you're probably going to be fine.

Patrick Rauland: Cool. That's good to know, because I think I could worry for forever about what is the perfect Kickstarter time for my game, and I hate worrying forever, so I think I'm just going to … I have like a range in my brain, but I think I'm just going to pick a date and assuming there's not Fireball Island … there's the Batman one earlier this year, assuming it's not one of those, then I should be good.

Heather O'Neill: Then you should be good, yeah. Exactly. You should be fine. So yeah, things like that just kind of pop up and you just kind of role with it, but …

What is it Like in a Small Company?

Patrick Rauland: Cool. So you're a small company now as opposed to, I talk to a lot of people who are just like an independent designer. Are there things that as a company you can do that you can't really do when you're just like a one off person working for yourself?

Heather O'Neill: I mean, again, when it comes to money related things, that just depends on the person, but I mean what we've done a lot of is been able to attend many, many more conventions with a booth presence. We'll split up or maybe we do all go, and most of us are in the east coast, so sometimes getting to a California or Texas convention is not going to be feasible for a small independent designer who lives in Massachusetts for example, so it really helped us go to places like SXSW, and PAX, and Gama, which is a tradeshow in Reno, and all the PAXs and things like that. So we've been able to amp up in the last three years our convention presence which just in turn helps because you're getting the games in front of people.

Heather O'Neill: The other thing that really helps is being in distribution. We have been in distribution for a long time because of Kobolds Ate My Baby!, but getting the board and card games into distribution now means I don't have to just rely on people coming to my website or pre ordering it on my Kickstarter page or me hustling at every single convention to make my sales. I'm paying someone to do that every month, and I'm just getting a sales report, which that's the big thing that … you have to decide if you want to do all this, because it's great to have that, but it's a lot of work involved with that too. And sometimes it's nice if you're a game designer which I know many. They just design the game and they hand it to somebody like me, and then they just get a check, a royalty check, and it's not their problem anymore.

Heather O'Neill: Whereas in our case, we like interacting. I like doing the business part of it too. I mean sometimes it can be overwhelming as anything can, but for the most part, I like seeing that evolution and doing that part of it, so for me it made sense for us to continue that way.

How Does an Indie Designer Get into Distribution?

Patrick Rauland: I realize now that we haven't had many people talk about going into distribution. Why does … so for people who don't know what that is, that's like where you get all of your games into retail stores. What is … I guess … how do I want to ask this? Is that sometimes an indie game person can do? It's just a ton of work or is it just sort of not even possible until you're a small team?

Heather O'Neill: No, I think it's possible. It's still possible. like I said it depends on … if you're self-publishing your own game, and you've created it. Let's say you've had a successful Kickstarter. Even if it's a $10,000 or $5,000 Kickstarter, and you're nothing huge, that's fine. If you've done pretty well with that, that's where you can start thinking, “Okay, how many followers do I have? How many backers was that?” You can talk to some of these smaller distributors and they might pick you up. I know some people who are indie game designers. It wasn't their first campaign. It's wasn't maybe even their third, but after a while, they talked to some of these people and they got picked up into distribution.

Heather O'Neill: They all have different reasons why they'll pick somebody up, but, that is something that … it helped us out that we already had that distribution set up, so it just made it easier for us. So even though like I said we're a company in quotes, and we probably are a step above just your average designer that would sell the game to a publisher, we're not that much above that. We just kind of got lucky that it was already in distribution because it had been out for so long. So we're still trying to push it even more.

Heather O'Neill: But you're right. It's something that if you're still designing the game, don't even worry about that right now. Decide if you even want to get involved in all of the manufacturing and process of self-publishing, or if you'd rather just sell it to someone and have them do it all. if you do want to start your own company and do all of that, I would suggest a year or two of build up, and maybe one or two successful campaigns on Kickstarter, and then you might be able to get into distribution.

Patrick Rauland: I think that's really helpful because like knowing, basically you probably can't do it for your first one, so think about that for later campaigns, later projects.

Heather O'Neill: Right. So if you're thinking, “Oh okay, my cost is,” you know $1,000 for example for a thousand copies of this game, which we know it's not, but let's just say it is. If you know that that's doable that could be your first Kickstarter. If you're thinking, “Oh I'm going to print 5,000 copies on my first game, but I don't know how I'm selling those 5,000 copies if this doesn't go well on Kickstarter,” that's where you've got to think about maybe for your first campaign maybe going down for what your goal is. Because hey, if it goes Gangbusters, then you can buy more.

Heather O'Neill: But I have seen some people, and I should mention this, I'm part of the Game Makers Guild of Philadelphia, where we meet and play test, and give feedback to new and currently published designers, and I've seen a lot of people say, “Oh I launched my campaign last night,” and then the next day they come in with their prototype. It's like, “Well, maybe that wasn't the right time to do that, because there's all this information we could've given you.” So some people, just they just don't know the numbers, there's tons of research you can do out there on it, but I would just say always go a little bit smaller than you think, and the worst problem to have is you have too many backers, or you're selling out of your game, and you need to print more. Like that's the worst problem you can have, because it's the best worst problem.

Patrick Rauland: I hear you. Love it.

Heather O'Neill: You know I'll take it.

How Many Unpublished Games Do You Have?

Patrick Rauland: So being a small company, how many unpublished/half finished games do you have?

Heather O'Neill: Too many.

Patrick Rauland: Is it like hundreds?

Heather O'Neill: I wouldn't say it's hundreds, because … I would say half finished, a third to half finished or more, I'd say it's maybe 12 or 15. But as far as how many have we started and having ideas in our heads, I'd say probably hundreds, and it's because a few of us, especially Chris, my husband, probably has an idea every single day for a game. We all riff off ideas all the time about games, so there's a thing on Dropbox called paper, where you just basically write notes. So we have paper for just all of our ideas, and we go on there as we think of things, and just riff on ideas all the time.

Heather O'Neill: Sometimes we're in the middle of doing this campaign for Meeple Party and for example three games have been designed since January. Now are they coming out any time soon? I don't know. But we have three games that we've been designing as we're working on this. Which is the worst … we were telling ourselves, “We can't design a game right now.” But it just got in our heads, and we've been doing this on the side, and we just have a bunch of games that are not quite ready to come out, but just things that we're all riffing about and talking about in our free time. So there's just a lot of that going on. Which is fun. It helps because there's a lot of creative juices, so to me that helps me think even more.

What's The Best Money You've Spent?

Patrick Rauland: Yeah. So you've been in this game a long time. What is some of the best money that you've spent as a game designer?

Heather O'Neill: Well I would say that the first thing I can think of is there is a design conference called Metatopia, which is in Northern Jersey, so it's not necessarily easy for everyone to get to, but there might be other ones around the country. I think it's really really good because it's a convention for, it's more of a conference actually for designers. So the idea isn't, “Oh you have a booth, and you sell your game,” or even like an Unpub where you have your game, and the public come in. It's more designer to designer, and the public can be there of course, but for the most part, it's you're actually having other designers play your games and having panels and meetings with the other designers, and that really opened my eyes.

Heather O'Neill: I think the first one I went to was in 2014. I learned a lot there, and just also I think it helps you, it helped me anyway, get over that fear of showing a prototype to somebody, because you're thinking, “Oh well they're just another designer too, so I feel a little bit more comfortable than putting it in front of the public.” You know? So four years ago I had taken one game, and this one coming up in this November, I'm planning three games, and they're brand new ideas because I'm less worried about showing something that's maybe only an alpha at this stage.

Heather O'Neill: So Unpub, I would say that doesn't cost anything, but I would say Unpub maybe does a little bit, but Unpubs are amazing if anyone doesn't know about those, they should look them up. And Unpub is Unpublished Network, it's I guess a group that you can join. You can look on their calendar for local events. You can go to their bigger events which are I believe are once a year in Baltimore, and it's basically where you just show your prototype to the public and also publishers. So again, that's another great one. Anyone that's looking to get into this, I would suggest looking at that.

Patrick Rauland: I love both of those, and I'm a little jealous because Unpub is primarily in the Northeast.

Heather O'Neill: Oh, is it? Okay.

Patrick Rauland: [inaudible 00:28:33]

Heather O'Neill: Yeah it is.

Patrick Rauland: And they have … sorry I'm trying to think. They have something in Origins which-

Heather O'Neill: Yeah, they'll do one in Origins, and they might do one at GenCon, I'm not sure, but you're right. That's true. They have … most of their events are over here which is probably why it seems like there's so many events to me because I'm over in Philadelphia area. But if you are in this area, that's great. Or there might be other outlets in your local area, but that really helped me a lot because it wasn't a traditional convention in the way that you walk down aisles. You look at product, and you see … you're trying to basically sell to people.

Heather O'Neill: It was a totally different vibe, more of a hanging out in a hotel lobby, and having a drink kind of vibe, even though what I'm doing is talking about games and game design. So it was pretty fun, and definitely that's where, not only do you meet a lot of people, but you just … it just helps you think about things a little bit differently than you might have going into it. And at that time, I had only really been in the publisher game like two years, so it really helped me out.

What Does Success Look Like?

Patrick Rauland: So what is the, so we're wrapping, getting near the end here. What is the success look like for you? Is it just continuing where your company is? Do you want to grow to 50 people? Do you want to take over the world?

Heather O'Neill: Yes, it's definitely not grow to 50 people. I mean if that happens that's fine, but I mean we'd be really happy just if we could do this full time. So though it sounds all lofty being CEO, all four of the employees have full time other jobs.

Patrick Rauland: Oh wow.

Heather O'Neill: Yes, that's what we're thinking. We would really like to dedicate a lot more time to this. Which we're dedicating a good amount of our free time because we really love it, and it's something that we luckily all have the flexibility in our jobs to do this, but at the same time, that's definitely, that's the success. I think even I would feel it was a success if two of us can do it out of the four because we know we're at that point where we're on that cusp, but we're not there yet. It's a pretty big leap, so that's what we're looking to do. That is where, once we get there, we'll be really happy. That's all we're looking for.

Patrick Rauland: Do you think you can get there, well at least one person by the end of the year?

Heather O'Neill: I don't think so, no.

Patrick Rauland: No you don't think so?

Heather O'Neill: No. I don't think so, but I think maybe in the next two years, one or two of us could do it. But again, over the last five years, we've just kind of in slow incremental build up, and we're getting there, so that's what we're looking at.

Patrick Rauland: Well I wish you luck with that.

Heather O'Neill: Thank you.

Patrick Rauland: That sounds [crosstalk 00:31:11].

Heather O'Neill: I'm sure that's what everybody wants, you know the same thing. I talk to anybody in any industry, and they say, “Oh you can do what you want to do? Do it.” Exactly, so that is what we're trying to get to.

Overrated Underrated Game

Patrick Rauland: So, I like to end my little show with a game called Overrated, Underrated. Have you heard of it?

Heather O'Neill: Okay.

Patrick Rauland: Or I take it you haven't heard of it before?

Heather O'Neill: Oh what the game?

Patrick Rauland: Yep.

Heather O'Neill: No I haven't heard about it.

Patrick Rauland: Okay, so basically I'm going to say a word or phrase, and I'm going to force you to take a position if you think it is overrated or underrated. So if I said Friends the TV show, you'd be like, “Ugh, overrated because they're not funny.” Something like that. Got it?

Heather O'Neill: Okay. Yep.

Patrick Rauland: Alright so publisher speed dating events. Are they overrated or underrated?

Heather O'Neill: I guess I'd say overrated, but I have never been to one so I can't say.

Patrick Rauland: Oh okay. I think I assumed that publishers do the exact same thing as me where as a designer I go to publisher speed dating events, but obviously not all publishers do that.

Heather O'Neill: No, we don't really go to it, and I've seen a lot of them, but unfortunately I haven't heard a lot about the success of them is where the problem is with me. Maybe there is, and I'm just not aware.

Patrick Rauland: So this next one is a total gamble. I did not ask you ahead of time if you'd played this game. Have you played the game Baldur's Gate?

Heather O'Neill: No, I haven't.

Patrick Rauland: Dang it.

Heather O'Neill: But I know that I'm supposed to say underrated.

Patrick Rauland: It is like my favorite-

Heather O'Neill: For my geek cred there.

Patrick Rauland: It's like one of my favorite computer role playing games.

Heather O'Neill: I know, it's like the number one, everyone loves it. See the thing is I'm the board gamer person. I'm not the role playing person in the company. Everyone else is a role player. I have done it, but I'm more the board game analytical person.

Patrick Rauland: So let me get super nerdy here, and connect the wires. So Baldur's Gate is set in, I believe it's called the Sword Coast, and Lords of Waterdeep is also set in the Sword Coast, so I'm changing my question to Lords of Waterdeep. Overrated or underrated?

Heather O'Neill: Underrated. I like it.

Patrick Rauland: Alright, nice. That is weird to like ask a publisher to like talk about a specific game. I usually talk about genres of games.

Heather O'Neill: No that's fine.

Patrick Rauland: Alright. Moving on. Murder mystery parties, overrated or underrated?

Heather O'Neill: Overrated.

Patrick Rauland: Oh, overrated. Why is that?

Heather O'Neill: Well, they don't live up to what they … you think they're going to be most of the time.

Patrick Rauland: Okay. Okay I see that. Last one, guac. Overrated, underrated?

Heather O'Neill: Underrated. I like guac.

Patrick Rauland: I like it, but you've gotta have like the avocados, they've gotta be just right, so if someone else can figure that out.

Heather O'Neill: I guess you've gotta say good guac. That's the … that's right, yeah. Not any guac.

Patrick Rauland: Awesome, well thank you for being on the show Heather.

Heather O'Neill: Thanks so much.

Wrap Up

Patrick Rauland: Where can people find you online?

Heather O'Neill: So 9th Level, 9thlevel.com, or @9thLevel on Twitter. Also if you're interested in Instagram, following us on the design process, we have @9thLevelGames where we're putting a lot of the information about Meeple Party and where we are and what we're doing.

Patrick Rauland: And where can people find Meeple Party?

Heather O'Neill: That will be on Kickstarter September 25th through October 25th. If this airs after that, you can also go on Kickstarter and search it, and there will be a pre-order link or it'll be on [Backerkit 00:34:40] as well for pre-orders.

Patrick Rauland: Awesome.

Heather O'Neill: And it'll be under Meeple Party, so hopefully that'll be pretty easy to search.

Patrick Rauland: Awesome. Listeners, if you enjoyed this podcast, please leave us a review. It helps other people find us. If you do, Heather said she would let you hug her kobold, but she can't promise it won't try to abduct you, so pros, cons. You can find the site at Indieboardgamedesigners.com. You can follow me on Twitter. I am @BFTrick, that is at as in, oh at. B as in board game, F as in fun, and Trick as in trick taking game. So last little bit is in a couple months, after this podcast comes out, I'll be releasing my game Fry Thief on Kickstarter if Kickstarter doesn't explode. So follow me on my website. I have a whole page dedicated to the game and what we're working on.

Patrick Rauland: Yeah, that's all I got, so until next time designers, happy designing. Bye bye.

Patrick Rauland: Hello everyone and welcome to the Indie Board Game Designers podcast where I sit down with a different independent game designer each week and we talk about their experience in game design and the lessons they've learned to get to where they are today. My name is Patrick Rauland and today I'll bet talking to Kathleen Mercury, who is an educator who teaches board game design in school. Sorry, I'm so excited, and she recently had her game, Dirty Dragon, signed and she runs her own podcast. Kathleen, welcome to the show.

Kathleen Mercury: Thank you so much for having me. I'm so excited.

Patrick Rauland: Yay.

Kathleen Mercury: Mm-hmm (affirmative).

What Don't You Do?

Patrick Rauland: Okay, so you do everything. You teach board game design. You have a game signed. You run your own podcast. What do you not do in the board game world? Is there a job that you don't do?

Kathleen Mercury: You do not want to see my graphic design, because it's basically a Google drawing. I do some pretty magical work in Google Docs as well, but no one would ever hire me ever to do any kind of graphic design or layout. So that's a pretty hard no there.

Patrick Rauland: Okay. But you got the rest of it covered.

Kathleen Mercury: Yeah. I mean, I just … I'm the type of person where I got started playing games and then I met some game designers and it was like, “What? People actually make that? There's actually somebody behind that?” And then just being the type of person who likes to figure things out and likes a challenge and I came up with an idea and it's like I'm going to just play with this and see what happens and seven, eight years later, here we are.

How Long Have You Worked On Your Game?

Patrick Rauland: Is that seven years from the game that you just had signed? Is that how long you've been working on that?

Kathleen Mercury: Well, so I signed … So Dirty Dragons is now known as Dragnarok and the story is, it's a three dimensional dexterity game. It's going to be published by Colossal, and it's basically the story is that you are dragons and you are tired of all these so called heroes trampling your rights and your autonomy and coming into your lair and stealing your gold and because you're a dragon, you're not really reasonable and so you're just going to go and burn them and their village to the ground.

Kathleen Mercury: There's all different types of dexterity actions that you can take … That take place in the game. It's also scenario based, so you can have all kinds of different sort of … So like D&D fantasy adventures, which I love that part. So I'm really excited about it, because it's a really fun game, but it started as Dirty Birdie with pigeons where everyone had a flock of pigeons and you were dropping poop cubes onto people and cars down below.

Kathleen Mercury: It's funny, because I say that, people are like, “I want to buy that game.” And people are like, “You should have not let them change the theme.” Like I've heard the whole range, the whole gamut. And I say, “Yes, I understand that, but this is the first company that said, you know what? We're going to make this.” Which I heard from plenty of others who they thought it was great. They thought it was hilarious. They thought it was too expensive and that was actually usually the stopping point. But now Colossal, they're willing to take this on and so I'm excited.

Kathleen Mercury: It's like, you know what? If that's the sticking point, I could re-theme it. And it was interesting, especially letting go of some of the parts that I really loved. It was kind of hard to kill some sacred dragons. I think anyone who has a game in development with publishers understand that very well as far as what you thought maybe what the game was going to be and then what it turns in to, but I've always been really open, honestly, to that kind of feedback, that kind of process. I mean, I don't think my ideas are sacred. I don't feel like there's only one way something can be done and I absolutely understand that game companies need this to be a product and they need to be able to sell this and they have to do what works best for them in their model.

Patrick Rauland: So you answered very nicely. I love how long that story is, because I think sometimes you just look at it and you're like, “Oh, there's the finished game. She thought of dragons and here it is and it's done.”

Kathleen Mercury: Mm-hmm (affirmative).

Patrick Rauland: But totally re-themed and I'm sure a lot of the mechanisms and other things [crosstalk 00:04:09].

Kathleen Mercury: Oh, yeah. Everything had to be looked at and it's, especially looking at where it is now versus where it is then, I mean, it's a totally different game. I mean, obviously there's some key parts, but I love that challenge too, as far as making it what it needs to be and not necessarily what you want it to be. Yeah, killing sacred cows, I mean, that's probably the best way to describe it when you have to take something out or you have that epiphany moment, which I love, where you're just like, “I know what I need to do.” And then things come together and that's the best feeling.

What is it Like Teaching Board Game Design?

Patrick Rauland: Yeah. All right. So you're the only person I know that teaches board game design to kids. What is it like teaching that and where do you get to teach that? Do you work at an elven school somewhere?

Kathleen Mercury: Kind of, yeah. So I teach gifted kids. All the kids that are in my class qualify to be in our school's gifted program. I do not think that only gifted kids can do it, but teaching gifted gives me a lot more creativity and autonomy over the program and what I do as far as what I do for kids. So I look for things where it's about 10% information input and about 90% output and game design is a perfect avenue in which to address that, because really, at most, I give them about 30 pages of text and it's like reference as far as like here's all these different mechanics. Here's some different ways to look at victory conditions. Here's different ways to look at player objectives.

Kathleen Mercury: I mean, kind of like the nuts and bolts kind of pieces and all the rest of it just comes from their work. Their brainstorming. Their process. So it's very process oriented, which works very, very well and the other reason … I mean, there are so many reasons. I could go on and on. If I were to teach one thing to kids forever, it would be this, because of how comprehensive it is in terms of so many different skills.

Kathleen Mercury: I mean, you think about rule writing. They've got technical writing and you've got all that. Just the prototype development process is just learning how to give feedback, learning how to receive feedback. I think that's one of the most important parts as far as developing good gaming skills, but are also good human skills. Win nice, lose nice, play nice. All of those are important skills, just in general, and teaching game design lets me do that.

Kathleen Mercury: The best part is when you … It's not just table top game design, but in my classes. I always call them geek training for life, because I also teach RPG design. I do a cosplay unit during the month of October. We've done film. Just anything where I've got them taking some sort of design parameter, honestly, and then saying, “Okay, what are you going to create within these parameters?” Giving them lots of tools and support along the way. It's so much fun. Like I honestly have the best job and I love it.

Patrick Rauland: Can I go back to school? That's what I'd like to do right now. I want to go back to school and take cosplay design, RPG design, game design.

Kathleen Mercury: Yeah.

Patrick Rauland: That sounds like a blast. How old are these kids? What grade and how old? I can never match age to grade?

Kathleen Mercury: No, that's all right. I teach seventh and eighth grade. So my kids usually come to me when they're around 12, plus or minus, depending on when they were born, and they leave around 14. That's a really cool spread, because at 12 they still can be pretty young in terms of how they see the world or if they even realize there's a world going on around them sometimes, but you know, by 14 or so, they're so different. I mean, that's why I like teaching middle school. I mean, neurologically what happens between zero and two years of age is equal only in life to what happens between 12 and 15 in terms of that sort of phenomenal rewiring of the brain and total regrowth and development of who they are and what they are.

Kathleen Mercury: That's what I love about doing this is having that really key time of brain development in which I get to work with them and teach them what failure is. What do you do? A lot of my students have never really struggled in school, so with game design, you make bad games and you learn how to make them better. They've never had that kind of make something bad kind of approach to any kind of learning. A lot of what I do is more like focus on the interpersonal side of this, not just … I mean, we get to the technical side of game design, but really for them to learn how to work through that and to be okay with something at the end that probably still isn't even finished after all that time.

Patrick Rauland: I think that's so cool and I wish I had a … It sounds like you're teaching good humans or teaching how to be a good human through game design, which sounds amazing.

Kathleen Mercury: Right, right. It's honestly, like I'm so thankful that I get to do this every day and I just … I feel so lucky and fortunate. I work really, really hard and I'm so appreciative that I get to do this.

What Have You Learned From Your Students?

Patrick Rauland: What are some of the things that … I mean, I'm imagining if you are teaching game design to kids … I should also say I'm an online educator. I teach online courses and I always learn from my students. I'm curious, what have you learned from your kids about game design?

Kathleen Mercury: Take the brakes off.

Patrick Rauland: Take the brakes off?

Kathleen Mercury: Yeah. Because a lot of times, if I'm approaching a project, like if I'm designing … For example, I was given, before Gen Con, a person and there was a game company that wanted a game designed around that person. So it's not just thinking about a game for that person, it's like what's the type of game? What's the game play? What's the components? How big is the box going to be? All those kinds of things and you work with those parameters and I work really well with parameters, but the thing with my students is, when there's a really great example from Dragnorok where I wanted there to be a lot of different type of dexterity actions. There's flicking. There's dropping. There's a couple other things that haven't really been done before and it had a bunch of components on the table when we were play testing, because there's this one element that was a little hinky.

Kathleen Mercury: It wasn't quite working right and so I had a ruler on the table and then I had some really thick, wooden disks from like caveman curling. One of my students said, “Can't you just have them roll the big disk down a ramp?” And I was like, “Oh my God.” It was just like, I don't even need to play test it. I know that's going to go into the game forever. It was literally just looking at the clutter on the table and like, “Why can't you do this?” And it's like, “You are correct.”

Kathleen Mercury: That's the other thing too, with my students, especially for play testing and that's one thing I'm a little bit spoiled by, because if I want to get a bunch of play tests in with a lot of different groups, granted they're all going to be 12, 13, 14 years old, but I can get a lot of play testing done. But the thing is, is while they aren't necessarily harsh critics, I mean, they tend to love a lot of different things and that's not a bad thing in my book at all. I want to know what they like. But the thing is, their ability to come up with ideas that are just so unfiltered by any kind of lens or restraint we put on ourselves as designers. It's like, why can't you do this?

Kathleen Mercury: You always say, like I always want the 100 ideas even if 97 are bad so I can get those three really good ones. Honestly, with them, you get more than three. They come up with some really unexpected insights and ideas for the games that I'm always so happy to jump on.

Patrick Rauland: I love that. I was going to ask, and I think I saw you … Or I'm sorry, I know I saw you at Tabletop Network earlier this year. If I remember correctly, wasn't the ruler actually used for like, you need to drop it from a foot above the table?

Kathleen Mercury: Right.

Patrick Rauland: It was used as like a … So it's cool that it was used in the game, and I think you and I being adults are like, “There's a ruler. It measures things. That is what a ruler does.” And the kids are like, “But look, if you put it on it's side, you can now roll things on it.”

Kathleen Mercury: Right and it's like, “Of course you can, oh my gosh.” And that's the thing too, it's like what other uses for the ruler? Oh, we can have a dragon hockey stick. Like why not? You know what I mean? There's so many things where we just get in that tunnel, especially if you look at something for so long and we kind of forget.

Kathleen Mercury: I have another game that was signed with a company and we actually just got the rights back. The company, in the end, they sort of shifted their focus and there were no plans to put it on the calendar, and I really love this game. Luckily they were willing to give us the rights back and so now it's another one that I'm going to be shopping around again, but it's kind of cool, because they've had the game for over a year and now that we've been playing it again and stuff like that, we're seeing things that we didn't see before. Or things that we just kind of skimmed over, “Well, that's just what happens,” as opposed to, “No, this is actually something we could make better.” And so having that time away from it, you forget all the different things and all the reasons why you did something.

Kathleen Mercury: It's like, what does this game need to be? Because we're able to see it now with fresh perspective and so I love that. Especially if I can make the game even better and then find it with a publisher who is legitimately excited about it and it's something that fits really well for them, it's such a good opportunity and I'm so excited I can just jump on that.

What Games Have Adult Designers Skipped?

Patrick Rauland: I love it. One of the things you mentioned in your talk, and also I was cruising around your website earlier today is you recommend playing a lot of different games. Just as like here's pickup and deliver, sort of the basic mechanisms. One of the things I noticed is I've probably only played half of those and I consider myself someone who has played a lot of games. I'm wondering, are there games that you think adult designers have skipped or missed for whatever reason and that we need to go back and play?

Kathleen Mercury: Well, one thing that every teacher has as sort of the great enemy of their life is the clock. I only have 50 minutes with my students and even if something super amazing, I really can't keep them much beyond that. That's not fair to them. It's not fair to their other teachers. So I really need to have games that you can learn, set up and play in that 45, 50 minute slot. I mean, not always, if they're taking their time or whatever, but generally speaking. So a lot of games of what I have are what people would consider lighter games.

Kathleen Mercury: What I'm always looking for are games that are fun, that play within that time period and that are appealing to my students. I used to have them play games that I thought were really great for specific reasons. A good example of this is Alhambra. I love Alhambra. I think it's a brilliant game. It has a really nice, mellow kind of game feel to it, but the thing is, for my students, they thought it was boring. So they're not necessarily going to be excited about or interested in discussing the key elements of the game and the game design. The boring part just kind of overshadows that. So if I have them play any game, it's got to be something that they find really, really fun.

Kathleen Mercury: I'm always looking for games that fit in that time sphere that are really fun, but also show them different types of mechanics, because I want them to see what's possible. One thing that's important when it comes to being a gamer and then game designer is there's a type of literacy, like gaming literacy, just like you have when reading. If you want to write a book, you have to be literate in terms of what goes into a book, your literary devices and all that other stuff. Game design is the same way. It has it's own type of literacy and you can't really design games without developing that, because otherwise if I gave all my kids on the first day paper and some dice, some markers, whatever, and I said, “Make a game.” What game is it going to look like? Tell me right now.

Patrick Rauland: Monopoly.

Kathleen Mercury: Yes. In fact, if you Google how to make a game … I did a presentation. I Googled, “How to make a game,” and of the like 12 images that came up on Google Images, all but one, well, there were like two. One was kind of … It was like circular, but basically all but two were all Monopoly. Just move around a square. Land on a space. Something happens. Because that's a lot of what they know. And so by giving them a lot of different types of games, it gives them those tools to say, “Wait, I really like this from this game.” I mean, because that's what I tell them. I say, you know, “Use all of these different components to make your game.”

Patrick Rauland: Fun fact, in eighth grade or ninth grade, we had some sort of history final thing and my teacher gave us a couple of different options of you can either write a 10 page paper or make a video or make a game, and my group decided to make a game.

Kathleen Mercury: Of course.

Patrick Rauland: And it was Monopoly, because it was like ships. You're colonializing? That's not the right word.

Kathleen Mercury: Colonizing?

Patrick Rauland: Colonizing? Colonizing. Thank you, teacher.

Kathleen Mercury: You're welcome.

Patrick Rauland: You're colonizing the world and like I think it was basically Monopoly with variable player powers. That was all that I added to it. You know what I mean? It was like, “You can buy this place for this much.” Yeah, because I didn't have any … In eighth grade, I had none of that.

Kathleen Mercury: Right. I mean, on the first day with me, the first week they come in, I say, “Hey, it's good to see you. I'm Ms. Mercury. We're going to get to know each other really well, but you need to sit at a table with one of these games. You and your group need to read the rules. You need to set it up and you need to play it. I'm here to answer a few little questions, but I want to see if you can figure this out on your own.” Hi, how are you? Go to work. And so they … I have them play games from the very start and one student last year, his table was Deep Sea Adventure by Oink Games, which I love. If you don't have it, that one is so fun.

Kathleen Mercury: He was walking out of the room and he said, “Ms. Mercury, that was the best game I've ever played.” And I was like, “Hey, buddy, we're just getting started.” Because that's the other thing too is a lot of times, I mean, like Target is having a much better selection. Barnes and Noble is kind of backing away from their games, but getting kids to play better games means they want to play games. It means they'll stay away from devices. I don't have a problem with devices, but if you want your kids to hang out with other kids and engage in social interaction, if you want them to be at a table playing games, give them better games.

Kathleen Mercury: Monopoly has it's high points, but if you really want to play Monopoly, play Monopoly Deal. It's the card game. It's 15 minutes. It's all the fun parts without the [crosstalk 00:18:44].

Patrick Rauland: Oh, good.

Kathleen Mercury: But get kids playing better games. I had a parent at a bar mitzvah. We're on the dance floor and she was telling me about how her daughter wanted her to buy these three different games that she played in my class and the mom said, “I will never, ever tell my daughter that I will not buy her a board game. If she wants a game, I will buy that for her in a second.” And she was like, “I bought all three of those games,” because they want their kids playing games at tables with them as a family.

Patrick Rauland: That sounds so good, right?

Kathleen Mercury: Mm-hmm (affirmative).

Patrick Rauland: I was just talking to someone earlier today just about screen time, right? How much time I spend in front of the … It's funny, I love talking to people, but even you and I, right, because we're separated by distance, like we're talking and I'm looking at a giant 30 inch monitor. I think I just distracted myself. Hold on. Let me go back to my pre-scribed questions here.

Patrick Rauland: Where were we going there? All right. Okay, so you signed Dirty Dragons which is now, sorry, it's now called?

Kathleen Mercury: Dragnarok.

Patrick Rauland: Dragnarok, that's actually a pretty cool name. I like that.

Kathleen Mercury: Yeah.

What Has Changed About Your Process?

Patrick Rauland: Now that that's signed, what has changed about your process? If you were to start a brand new game from scratch this year, what would you do differently?

Kathleen Mercury: I don't know that I would … I mean, there's a lot of things I would do differently, just because I've changed so much as a person and as a designer since then. I was inspired by a Girl Scout song called Dirty Birdie and that's where the whole game kind of came out from there, quite honestly, but especially now, if I'm thinking about, honestly what I'm looking for is challenge. I'm disappointed when I play a game where it's got elements that are so derivative of other games and they could be put together really well and there might be that one thing, like, “Oh, here's the one kind of special sauce thing,” and that's okay. You know what I mean? There's a lot of games, especially like … I'll never be a big, complicated Euro game. That's not me. But I am always looking for what's something to do.

Kathleen Mercury: Like this game that I was working on earlier, was like a tile laying game, but I wanted to do it differently than anything I'd experienced before. So it's like how can I really play around with this space? I like games that play with game space. Dirty Birdie started out as the three dimensional city. Now it's set up more like a village inside of a valley. The game that I have, Crash Course, the one that I'll be shopping around again, that one has a modular race board that looks different than most modular race boards.

Kathleen Mercury: So I always just try to play with the gaming space, what hasn't been done. I think, for me, that's always something really … I mean, everybody tries to do something … No one is like saying, “Hey, how can I take [inaudible 00:21:40] and do this?”

Patrick Rauland: Yeah.

Kathleen Mercury: But there are times though where … And that can be done well. I'm just saying what works for me, not necessarily for other people. But for me, it's like I want a challenge. I want to do something that is just outside of my sort of known skill set and to see if I can make it work.

What Mechanisms Do You Want to Us?

Patrick Rauland: Are there any mechanisms or something that you've tried to get to work and you just haven't been able to get it to work, but you really, really want it to work?

Kathleen Mercury: I'm really bad at card games. I'm really bad. I mean, and it's something that should be so easy, but it's just getting all the cards to work, the right number of cards in the right distribution. I'm not a mathematician. I'm such a visual person, which is why my games usually have … It's that whole visual playing with the space sort of thing. So when it has that underlying … You know, in a card game where it's just like peer relationships between different cards, different numbers, quantities, percentages, all that. When it comes to that with me, I'm kind of lost, honestly. I've tried to make some card games that just didn't work. Didn't work.

Kathleen Mercury: I mean, I think for me, that's why one of the things kind of on my bucket list of games to make is I want to make a good card game that works and I'm excited about, however it does, whatever it does. I've just not had any success with that. I never played Magic. I never played any kind of collectible card game, so I think especially when people have played those games, they have a lot of in depth understanding and knowledge of cards and responses and reactions and balance that I just don't have.

Patrick Rauland: Yeah. Well, so I wonder if I … The one game I'm working on right now called Fry Thief is a small card game, but it's very simple, right? Like it's a 16 card game. There's very few numbers on all the cards. I'm kind of amazed at the people who design like an economy in a spreadsheet before making the game. You know what I mean? They're like, “All right, so this card is three power and two life points, it's going to have to cost this much,” and like they have that formula pre-made. I definitely do not design games that way. That makes no sense to me.

Kathleen Mercury: Right. And that can … I mean, that's honestly a really effective way of doing it. You know what I mean? I think you have to watch to make sure the game's not too balanced, because it has to have a little soul and sometimes for a little soul, you can have … I mean, I don't mind games that have a little swingingness, a little unbalance, because otherwise it can get really mathy and predictable in terms of this, then this, then this, then this, and boom, there we go.

Kathleen Mercury: I mean, there are people, I'm not one of them, who can look at a game, math out exactly everything they're going to do and the order they're going to do it and some games can facilitate that. I don't want to design a game that would allow that, because if I'm going to be sitting at a table for 45 minutes, I want it to be fresh every time it comes to my turn.

What's Something Worth Spending Money On?

Patrick Rauland: Love it. Let's change gears a little bit. Especially being a teacher, I'm curious, has there been anything that you've spent money on that is just like the most valuable thing ever as a game designer?

Kathleen Mercury: Yes. The one thing I've probably spent the most money on, of my school budget, are plastic Learning Resources, that's the company, Learning Resources one centimeter cubes. You can get them in buckets of like 500 for like $20, $25 and I probably buy four or five buckets of those cubes a year. By far, that's the best thing I spend money on. The other good things I spend money on, I like to buy from Print and Play Productions. Andrew Tolson is super great. I love him. And I buy lots of blanks in squares, hexes and circles, because those are really hard to cut out consistently and it's just nice to have all those blanks.

Kathleen Mercury: The other thing is RPG gaming paper in hexes and in squares, because that makes great prototyping paper. Kids can just roll out however much they need. They don't have to try to piece together smaller pieces of graph paper. They don't have to try to draw all the lines. They can just roll it out. Yeah, so those are the three things, from a game design standpoint, that I value.

Kathleen Mercury: But honestly, one of the reasons why I love game design and when I talk about it and teach it, work with teachers, it's so cheap. I mean, I think you have to have games to start off, to get that gaming literacy in, but if you want to teach games, you probably are a game designer or there's lots of resources out there to find at least some free print and play. Just some things that are different or whatever, but the actual resources that you need, index cards, paper, scissors, markers, pennies, glue sticks. You can make games out of that. And so you don't have to have walls of computers and expensive subscriptions to various educational programs for kids.

Kathleen Mercury: I mean, those are all great and I think there's value in that, because our kids spend their lives connected to the world through various devices and I think that's great, but you can do game design on cheap, cheap, dirty, dirty scrap trash materials and I love that. It's like the cardboard-

Patrick Rauland: Dirty, dirty, scratch, scratch materials. The new name for the podcast.

Kathleen Mercury: All right. It's like Calvin and Hobbes. You know, a cardboard box becomes a transmogrifier.

Patrick Rauland: Yes.

Kathleen Mercury: That's exactly what this is.

Patrick Rauland: Yep. I love that. So I've noticed I love buying components. I think there's just something so … I feel so good, like I have a warm, fuzzy feeling when I'm like, “Oh, now I have more D6's and I can put these in this prototype and they can just stay there,” but it's cheap, right? Like I can buy … I think I bought 200 cubes for a friend of mine at Gen Con and they were the metal cubes and they were slightly more expensive, but still so cheap.

Kathleen Mercury: Yeah. My only probably with those is I get really precious about them. I bought some bigger meeples and then it's like, “Okay, what game am I going to use these in? If I use these in this game, I spent $12 on these meeples and I have to make sure-” You know what I mean? As opposed to just working with like, “Let me just grab some garbage.” I've got all kinds of just recycled bits. I get really precious sometimes with the bought ones.

What Does Success Look Like?

Patrick Rauland: What does success look like in the board game world for you?

Kathleen Mercury: You know, it's kind of nice hitting it from different levels like I do. Obviously the number one thing is I want to see one of my games on the shelf. I've had other kind of experiences that other game designers have had too where I had a game with a company, they were excited about it, that company is no longer in business. The one company, they changed direction, so I got my game back. Colossal with Dirty … With Dragnarok, but we still have lots of things to work through when it comes to production and all that. So I have a lot going on as far as different types of gaming experiences that prevent your games from getting on the shelf right away.

Kathleen Mercury: So I would say that's probably the big one as far as that goes, is just getting a game on the shelf. I'm sorry, what was the full questions?

Patrick Rauland: Oh, just what does success look like?

Kathleen Mercury: Yeah. Then as far as the other work I do, I mean, making games is for fun, but teaching kids to design games and teaching other teachers and sharing all my resources, because on my website, KathleenMercury.com, I put all of my resources on there for free. I don't have ads. I get no money. I have to pay money every year to keep the domain, that sort of thing. It's just purely done because I want to help others do it. It's all Google Drive stuff so they can just download and make their own copies and change it and modify it, do it better than me, that's cool. Because when I started, there wasn't anything out there and it's like, “Well, if I'm going to make all this, then I want other people to do it.” And doing that has kind of led to all these other opportunities with podcasting and presenting to other teachers.

Kathleen Mercury: Honestly, for me, my second big avenue of success is being able to effectively convey how great it is to teach games and how much kids can benefit and how much kids can learn and how engaging it is for you as an educator in terms of that. I mean, there's certain trends my kids have, but every year there's surprises across the board. It is never the same twice and I need that.

Overrated Underrated Game

Patrick Rauland: Yeah. Well, that's awesome. So I like to end my show with a little game. It's called Overrated, Underrated, and from our talk before recording, I don't think you're familiar with it?

Kathleen Mercury: I'm not.

Patrick Rauland: Excellent. Great. I like throwing people in the deep end. So the way this game works is I'm going to give you an idea, a concept, a phrase, and then you need to take a … I'm going to force you to take a position, if you think it's overrated or underrated.

Kathleen Mercury: Mm-hmm (affirmative).

Patrick Rauland: So I could say professional microphones for podcast interviews and you would need to say if you think it's overrated or underrated and then like a one sentence description of why. Does that make sense?

Kathleen Mercury: Okay. It makes sense.

Patrick Rauland: All right. So this first one is sort of a genre and I'm going to say the classic games like Clue, Sorry, Monopoly, things like that. Are those overrated or underrated?

Kathleen Mercury: I would definitely say overrated, I mean, just because they're easy to make. They're easy to produce and they're not necessarily great games. This is more than a sentence.

Patrick Rauland: That's fine.

Kathleen Mercury: But for example, with Clue, we play it as [inaudible 00:31:14] replacement. We take out the dice completely and you just move to where you want to go with your … It makes the game go by a lot faster. It's a lot more of a problem solving, puzzle solving game and kids are like, “Oh, this is better.” You're like, “Yeah, because the dice is tedious.” Sorry, you just hope it ends fast. Monopoly, as I said earlier, get Monopoly Deal. You won't need to play Monopoly ever again. If you really love that playing around the table as a family playing as a family, get Catan. It'll give you that same kind of experience, but in a shorter, more condensed game play.

Kathleen Mercury: And then as far as Mouse Trap goes, that's honestly, and this is where I know this well from working on a dexterity game. Components are everything and you modify components, it modifies the game and you've got to get that just right and how many times. But kind of the cleverness of Mouse Trap is if it doesn't work, ha, ha, ha, that's part of the game and I love that they have this malfunction as far as the game design.

Patrick Rauland: That's cool. All right. The Magicians. Now, there's a book series and a TV show, so you can pick either one. Is it overrated or underrated?

Kathleen Mercury: I love The Magicians the book. I didn't watch much past the first episode of The Magicians the TV show. I would like to. I would like to, I just … As we talked about it, I'm a busy kid, so I don't necessarily watch a ton of TV other than Great British Baking Show. But I loved, honestly, I loved The Magicians. I'm a huge Harry Potter dork. I love that it was a grown up, more complex, darker. I'm very okay with Quintin, the main character, being incredibly unlikeable. I'm totally fine with that. Some people are not, but I love The Magicians series. It's not perfect, but I really felt like as reading that, the writer was definitely trying to take chances, which I appreciate.

Patrick Rauland: Love it. Now, this one I found on your website. Star Wars Carcassonne, which I didn't even know existed. Is that overrated or underrated?

Kathleen Mercury: I love it. I love it. I think it's the best way to introduce people to Carcassonne. The theme is a lot more engaging than medieval walled villages. I mean, granted, when I say it, how could I say that? I'm kidding. Star Wars is really fun. The nice thing about Star Wars Carcassonne is that it takes out farms, because for new players, that's really hard to kind of accurately convey what that is in terms of how it … And because it is such a huge impact on scoring, in some ways the first game is just a wash, because unless you explain it really well and they really get it, and it's not that hard, but it takes a lot of explanation for farms.

Kathleen Mercury: In Star Wars Carcassonne, there are no farms and it has a battle mechanic where you roll dice depending on basically how strong you are in a particular area. It's a simple D6 system, but it works well. So for me, especially working with my students, it's got that tile laying kind of strategic element to it in terms of where you place your meeples, but it also has that battle mechanic where you can be the underdog in a fight and you can win. And so having that kind of swing is very Star Wars.

Kathleen Mercury: I love Star Wars Carcassonne. I think if you have Carcassonne and you love Carcassonne, it's definitely worth getting.

Patrick Rauland: Okay, this one will require just a little backstory. This is the first time I went to Gen Con in about eight years.

Kathleen Mercury: Oh, it's changed a little.

Patrick Rauland: And one of the things that I noticed that was different is there are now food trucks at Gen Con. What do you think of those? Overrated or underrated?

Kathleen Mercury: Depending on the time of day, they're either overrated or underrated. If you go out at dinner time or after the vendor hall closes, good luck, Chuck. But I think it's great to have. I think when you have that many people, it's hard to have the right number. But I like a food truck. I like everything about ordering my food out in the open and sitting in the hot sun and eating something strange, so I'm cool with food trucks at Gen Con, because God knows with restaurants you're going to wait two hours anyway if you're nearby.

Patrick Rauland: Yeah. I think there's a secret trick at conventions to eat when everyone else is doing something else. So yeah, eat lunch at like 3:00 and eat dinner at like 8:00 and you'll be much happier.

Kathleen Mercury: Yeah. Yeah.

Conclusion

Patrick Rauland: Well, Kathleen, thank you so much for being on the show.

Kathleen Mercury: Oh, you're so welcome.

Patrick Rauland: Where can people find you?

Kathleen Mercury: Where can you find me? Well, I already said I have a website, KathleenMercury.com and you can email me directly through the website too, if you want. On Twitter I'm @mmmmmmmercury with seven M's. So M, M, M, M, M, M, M. I lost count, @mercury with seven M's, and that's a really great way to get in contact with me as far as the show. I mean, not the show, as far as anything related to games, game design.

Patrick Rauland: Where does that handle come from?

Kathleen Mercury: Well, so my last name, Mercury, if you want the real story, Mercury is my real last name, because I found out when i had a change of life status from married to empowered, single female, I found out that whatever you tell the judge to be is what your name is and I was originally going to change my middle name to Wolfgang, because I thought that was funny, but then I realized for multiple reasons, my maiden name, no one ever said it right. No one ever spelled it right. I didn't like the idea of going back to start, plus the whole other host of options, Mercury is what I landed on. Someone else had the name Mercury, so I don't like it when people take their name and just tack on random numbers at the back, or maybe they're not random, but to me, they always look random.

Kathleen Mercury: So I just figured if there were seven M's and Mercury, probably nobody else had it and I was correct.

Patrick Rauland: I love it. Well, thank you again for being on the show.

Kathleen Mercury: You are so welcome.

Patrick Rauland: Dear listener … Yay. Dear listener, if you like this podcast, please leave us a review on iTunes. Now, I talked with Kathleen about this ahead of time and backstory, she runs a home brew Harry Potter RPG. If you leave a review, she said she'd be willing to cast vomit slugs from He Who Shall Not Be Named's original wand, which you made a module to? Made an adventure for in your RPG?

Kathleen Mercury: It was great.

Patrick Rauland: Oh my God. This is a super … One of the biggest nerds on my show so far, which is making me very happy. You can visit the site, indieboardgamedesigners.com. You can follow me on Twitter. I'm @BFTrick, that's B as in board game, F as in fun and trick as in trick taking games. Until next time, everyone, happy designing. Bye-bye.

Patrick Rauland: Hello everyone, and welcome to the Indie Board Game Designers Podcast, where I sit down with a different designer, or pair of designers, each week, to talk about their experience in game design and the lessons they've learned to get to where they are today. My name is Patrick Rauland, and today, I'm going to be talking with another pair. Recently, there's been a lot of pairs of game designers, Sarah and Will Reed, who are designers behind a few different games, including Oaxaca and Project Dreamscape. Sarah and Will, welcome to the show.

Sarah Reed: Hello. Thanks for having us.

Will Reed: Yes. Thanks for … That music has some fat beats.

Patrick Rauland: Doesn't it? I mean, if you want, I can just loop it in the background. We can just talk over it the whole time.

Will Reed: I'd be too busy dancing, so that might not be great.

Patrick Rauland: Now-

Will Reed: What did he say? What did he say?

Patrick Rauland: Yeah. Now I'm regretting not recording video, because I think I could just go viral with just like a nerdy people dancing, like including me. It would be pretty bad.

Continue reading “#29 – Sarah & Will Reed”

Patrick Rauland: Hello everyone, and welcome to the Indie Board Game Designers Podcast where I get to sit down with a different designer or a pair of gamers designers each week, and we talk about their experience in game design and the lessons they've learned along the way to get to where they are today. My name is Patrick Rauland and today I'm going to be talking with Sam Bryant and Gwen Ruelle who are the designers behind Fire Tower, which was just up on Kickstarter and it was on fire. Sam and Gwen, welcome to the show.

Gwen Ruelle: Thanks so much for having us.

Sam Bryant: Yeah, thanks for having us on.

How Did You Get Into Board Game Design?

Patrick Rauland: Yeah. Okay, so first question I ask basically everyone, how did you get into board games and board game design?

Sam Bryant: You want to go first, Gwen?

Gwen Ruelle: Sure. I've always been a huge fan of board games. The first games I played when I was really, really little were card games more so. I played with my grandfather. Games like cribbage and casino. While he drank his martini and talked to my mom, I'd just sit there and wait for my turn. I always have loved games of all kinds. Later on when the beginning of the renaissance of board games started, I guess it was with Catan. My first one was Carcassonne. I don't actually know which came out first. I totally jumped on it and have been really excited about board games ever since.

Gwen Ruelle: It wasn't until I realized about Kickstarter though that I could potentially design my own board game. I think when I was younger, maybe seventeen or eighteen, I reached out to the company Cheapass Games I think is what it's called, and I asked them how they got into board game design because I wanted to be a designer. They wrote me back and for whatever reason it was a very encouraging response, but I read it as like it's impossible.

Patrick Rauland: Oh God.

Gwen Ruelle: It's going to be really hard to do it. I just thought “Oh okay, this is like an uphill battle.” and I had other interests and everything else. Then seeing all these Kickstarters popping up all of a sudden, board game design became a reality again.

Sam Bryant: Wow, I've never heard that story.

Gwen Ruelle: Oh, really?

Sam Bryant: Yeah.

Gwen Ruelle: I just really told the whole thing, I guess.

Sam Bryant: Yeah, I don't know. For me, I guess I spent a lot of my youth just rolling a die and then moving along various boards with various themes when I was younger. I'd say the thing that started to morph me into games with more strategic choice was Stratego itself. That was the first game where I really felt like I could match wit with someone and lay plans and come in with devastating attacks. From that, that led into playing Settlers of Catan. My mom really encouraged that and got me every expansion, and so we could fill the entire table with every little bit of it coming around.

Sam Bryant: Yeah, from there it was the same thing as Gwen had. At a certain point, we've been playing games for so long and all we ever talk about is games and we're only having fun if we're playing games that we should create our own was really the transition and how that happened.

Patrick Rauland: I think that's really cool. Let me first address. You guys are a couple, right?

Gwen Ruelle: Yes.

Have You Thought About Designing a Two Player Game?

Patrick Rauland: Okay, so I've played a lot of board games with one of my romantic partners in the past, and we almost always played two player games. One of the things that I'm just really curious about, because I think we always played them together like on a Saturday morning or something like that. Did you have any interest in designing a game for two people, exclusively for two people?

Sam Bryant: I don't know if it would be exclusively. I guess, yeah, we wanted a game that would be able to play with two players is Fire Tower was, which is nice for testing in the initial rounds because you can just play round after round back to back with each other, but I don't know if we ever completely thought about that.

Sam Bryant: Sometimes it's good. I can get a bit competitive, so it's nice when there's a couple other people in the group to water it down. When it's just the two of us, especially if it's a longer game, it gets to the point where on the last turns I'm cursing under my breath, “How dare you foil my plans, Gwen?” And she's like, “I had to take it. It was the last tile I could take.”

Gwen Ruelle: It's very true. Yeah, I guess I just … It's funny with Fire Tower because it's more of a classic style game than I think maybe I … that either of us even expected to create, but the two to four players is just sort of what you initially automatically go for. I really love two player games, actually. I'm a big fan of Patchwork and games like that. I think when you design specifically for two players a lot of great things come out of that, because you don't have to account for what if we have three players, what if we have four our whatever. I think that's a really interesting design choice, but for whatever reason I'm always picturing a big group of friends. Maybe that's way that's just because that's the types of games I've mostly played.

Where Did Fire Tower Come From?

Patrick Rauland: Totally, totally. Okay, so let's talk about Fire Tower. First of all, where did the idea come from and what was that … I guess how long was it under … how long was this an idea?

Sam Bryant: It's kind of funny. We've been on the path for so long that the original inception has actually fallen into the void somewhere. I'm like where did it come from other than a big feeling of we're going to create a game. I think the first real thought I can have was this idea we were mulling around about creating a kind of a game where you all had a competitive aspect and dealing with other opponents, but the game also had a nature of its own that was also competing with you.

Sam Bryant: You had, I don't know, kind of forces everywhere pushing against you, some of them in the controls, some of them that you could gauge like what will my opponent do, but then other things completely out of your control that you had to contend with and force you to change your strategy. I think in some ways it was that idea not even so much of a mechanic, but just like a feeling, an atmosphere of the game that led to the beginning of Fire Tower, at least as far as I can recall.

Gwen Ruelle: It's something that we really liked about the cooperative games that we've been playing is this idea of playing against the game or having the game have this forward momentum. A lot of games that are … A lot of purely competitive games will have this aspect of the game can have a stale moment because the players aren't moving it forward, and if the players don't move it forward nothing happens. We wanted to keep that from happening by sort of having the game constantly pushing forward, so fire is a sort of obvious theme to achieve that.

Patrick Rauland: I really, really like that. I was just at Gen Con. I played this tournament, this Monsterpocalypse tournament. It's basically a game with two monsters, they're fighting each other, but if none of you steps in towards the center of the city to fight each other, like you're both playing chicken, then the game doesn't progress and you kind of just keep playing it until the round runs out and that's not fun, right? I like that you added … It was like a sinking ship, right? It's like eventually this bad thing is going to happen and you just need to make sure it happens to your opponent first.

Sam Bryant: Yeah, exactly. Yeah. Yeah, eventually the chaos will overwhelm you. Even if you're hanging back, the personality of the game is going to keep pushing things forward.

Did You Intend to Make a Visual Game?

Fire Tower Flame Crystals
Placing fire tokens in Fire Tower

Patrick Rauland: Oh, I like that. One of my favorite things about it, and the thing that really attracted … I guess attracted it to me, attracted me to it on Kickstarter was that it seems very visual, right? There are these really cool orange crystally things you've probably seen in other games, but these orange crystally things. You just keep placing them on the board and that represents an area of the board that's on fire. Did you try to make this such a visual game from the start or was that just sort of a happy accident?

Gwen Ruelle: My background is in graphic design. One of the things I really did want to do when we first started designing the game was to have a game that was beautifully designed. I am no illustrator or artist at all though. Luckily enough my father is an incredible fine artist and we worked together a lot on different jobs for our day jobs. He did the watercolor art for the game, which I think really brought it to life. Especially with a theme like this that could kind of go in a lot of different directions in terms of how you see it, we wanted it to be elegant and feel it's really bringing out the nature, and the watercolor just worked really well with that.

Gwen Ruelle: The search for the piece came later. We thought we were going to get away with these tiny little orange dots.

Patrick Rauland: Winks?

Gwen Ruelle: Yeah, winks, like basically tiddlywinks. Everybody said, “We love your game, but do you think you could change those orange pieces?” And we're like, “No, you need 135 of them. That's going to be completely cost prohibitive and we can't do it,” and then finally gave in to the beauty that is these gems. We're very excited to find the piece.

Sam Bryant: Yeah, I mean … sorry, man.

Patrick Rauland: No, go for it.

Sam Bryant: Yeah. No, that is definitely one of the important lessons we learned over time is being able to sift through advice that you get just as you go around play testing the game. I think that's what really helped us hone Fire Tower is just the hundreds of people we played with. Sometimes you'll get advice that's from out of left field that can bring some insight, but when you keep hearing something over and over again, like people longing for something else, it's like you got to … most times you have to bend even if it hurts and you have some conception. It's like the more you're wiling to bend around the initial foundation of what you thought your game was is good, I mean without destroying what it is.

Sam Bryant: Yeah, it was funny the evolution of those gems. We had those winks and are always like “I wish there was something more evocative of fire.” Then we finally got the gems, and the first convention we went to we put out a big pile. Someone just walked up and put their hands right into it and this is like, “This is a giant pile of fire.” It was like a nice proving moment. I was like, “Oh my God, we didn't even have to tell you what it was. You got it.”

Patrick Rauland: I was just going to ask. That's really cool that you tried this thing. You know what, maybe it could've totally not worked, right? Maybe people are like, “These are big, they're clunky, they're whatever,” but you tried it and it seems like you immediately knew it was better and the audience immediately knew it was better.

Gwen Ruelle: Yeah, it is really true. When you're trying something new out and you go and discover that nobody likes your new thing, that is definitely in the realm of possibility. I think what I really love about the game community, not just even game designers but even people who are playing games, I think that there's sort of this understood thing about seeing independent games at conventions where people are really excited to give their feedback and really want to be part of the creation of a product, which isn't something that's necessarily true with other industries. It's just incredibly helpful. As a designer you've got hundreds of people telling you what they think and how you cam make it better. As Sam said, it just really helps. It really helped make Fire Tower what it is.

Do You Need Custom Components?

Patrick Rauland: Okay, so the point of this podcast is to educate and inspire other game designers. Assuming a game designer is listening to this, and not just my mom, would you … I think components are a hard thing to prototype, right? I'm working on a game with fries. Do I need to get a prototype of a fry meatball, you know what I mean? Some custom cut thing? Is it worth getting these more premium components for your testing, or is that something you should figure out at the very, very end? Does that make sense?

Sam Bryant: I guess in some ways, yeah, depending on how intricate it is. It could be hard to procure it and cost prohibitive or time prohibitive, but there is something about having close to a finished game. It's almost like if you come … Obviously you can go with a rough prototype and play with people, but often you'll get feedback about “I wish the components were a little different.” People can almost get lost in the visual lacking of what's going on. They're like “Maybe the graphic design should be different,” and you're like, “Oh man, these are hand cut cards that we made inside a sleeve.” I would say that if people can settle into it more and then they just start really focusing on the gameplay rather than getting caught up on the visual mechanics of it.

Gwen Ruelle: Yeah, it's a really good point you made, Sam. It's a weird thing because you think, “I really want to focus on the mechanics, so I don't need to bring the proper components. This is really about getting the gameplay correct,” but in a lot of ways people aren't going to be able to focus on the play of the game until you've components that they can at least manage. Maybe you don't have to make a fry meeple, but if it is just a piece of index card cut into the shape of a fry, then people are going to have a really hard time working with it, and it's ultimately going to affect the way they view the game. They might even give you feedback about the mechanics that actually they wouldn't have given had you had the right components.

People aren't going to be able to focus on the play of the game until you've components that they can at least manage

Patrick Rauland: Sure.

Sam Bryant: Yeah, I had to learn that the hard way. I've always been someone who feels like “Yeah, the parts don't matter. Why do we need these metal things,” but then you start to realize how much of a game is the experience. It's like yes, the mechanics are there, but also it's just the sense that it creates around the table. Like the narrative it constructs is so much of the experience, like at least half I would say now, and I would've not admitted that in the past.

Gwen Ruelle: It's also part of the reason that people are choosing to play a board game instead of playing a video game. It's like a tactical thing.

What About the Box?

Patrick Rauland: Okay, so one of the questions sort of along the same lines is I'm thinking about … for one of my games I'm thinking about like not custom packaging, but slightly unique packaging for the box. That probably doesn't need to be done for a prototype, right? I don't think people usually give you feedback on a box.

Sam Bryant: Yeah, I wouldn't see that as being necessary just to lock down the core mechanics and everything. It would be cool. If you could pull it off you might wow some people as they're going in and enhance the experience, but yeah, I don't think something like that would be necessary in order to get honest feedback about the gameplay.

How Do You Handle Fire As A Touchy Subject?

Patrick Rauland: Okay, so yes on components, no on box. Good. Okay, so this is something … Last year I was in California and there were these crazy, crazy wildfires. I was out there for a work trip. Anyways, the company I was working for, they actually sent me back because they just didn't … there's like 0% containments and it was bad. One of the questions I really want to ask you just because it's … fire can be a really touchy subject for people. As I was heading out of California, I live in Denver, heading back to Denver, I was at this coffee shop just like waiting for my plane and people were talking about they didn't know if their houses were going to be there.

Patrick Rauland: Have you had any people with like … and I know people who've had their houses burn down in just a regular house fire. Have you had any negative play experiences where someone actually had trauma with fire? The reason I'm asking this is like when you play Risk, it's so abstract and it's so unrealistic that I don't think it comes up much, but I think the little fire, while it looks so visual, it's also, I don't know, maybe more realistic and that's maybe more scary. Have you had any negative experiences with people playing?

Sam Bryant: I wouldn't say really negative experiences. I'd say people in the game community in general understand that these games are not set in the same world we inhabit. The logic behind the game wouldn't make any sense in our world as well. It feels like a very different kind of place. Also, you're not really … it's not going through a suburb. It's set in a remote forest. The funny thing is that people assume that it would be set somewhere in California, but I always imagine it as a pine forest somewhere in Vermont because that's kind of where the inspiration for the art comes from.

Gwen Ruelle: That's true.

Sam Bryant: We were at a convention once and we had a couple playing, and one of them asked a similar question. They said, “Is this something … Could people with trauma against fire?” The other person responded, “We play a lot of games where it's very direct that we're having a war, we're having a conflict, and you're eliminating the other people and you're taking their villages and destroying their roads, and it's like clearly … ” They said, “Clear people have issues with that as well, but it's just a game and you know that it's not intended to create a real experience. It lives within its own reality.”

Gwen Ruelle: I think also, too, is that you mentioned it looking realistic, which is true. I think we did actually put some effort into making it look sort of a bit removed, like the fire isn't supposed to be like this scary, ominous thing so that it wouldn't be as triggering for somebody if they did make that connection. That fires are something that even though there is a lot that's going on in California and it's really terrible to hear about everything that's happening there, there is forest fires that are …

Gwen Ruelle: You could make the argument it would be like a prescribed burn or something like that, but also too that fires are something that have been going on for years without injury or harm to anyone, and that's the type of fire that we're sort of going for in this case. We don't want to actually have anybody being burned to the ground or anything like that or that someone would lose their property, but I … We are sensitive to the issue. It's actually come up less than we were worried it might. Most people seem to think, like Sam said, it's another world, which is exactly what we were pushing for.

Patrick Rauland: I like that response. Just to be clear, I totally agree with you. I think most people are very good at separating the game world from the real world. I've just been thinking a lot more about the themes in games and what they say about stuff. It's really good to hear that basically no one's had, or at least no one you know has had, a bad reaction. Maybe just your theme is so clear that people self-select out, which is good, right? If they see you at a protospiel …

Gwen Ruelle: I think that might be part of it, to be honest. Yeah, I think that if somebody has an issue with it, we're probably the last who will hear about it because they just won't engage with our game at all.

Patrick Rauland: I also like your point about the art on the game. I shouldn't have said realistic, that wasn't the right world.

Gwen Ruelle: No, no, I understand what you're saying, though.

Why Did Your Kickstarter Explode?

Patrick Rauland: It looks really good, but not realistic. Yeah. Okay, so that was like kind of off topic. Just a cool thing that most games don't have to worry about that you guys successfully navigated. I want to go back to Kickstarter. You raised almost $80,000, which was 10 times your goal. What made your game kick so much butt on Kickstarter?

Sam Bryant: I guess we have to give a lot of the credit to the group of people we met over the year and months leading up to the Kickstarter who played the game with us. They were there. We had a community of people who were supporting us, and they were there for us on day one. All the amazing people we've met in the board game community were there to support us, and that really helped get us out in the public eye.

Sam Bryant: Then after that, I think I would give all the credit to Gwen after that because she was the graphic designer on the page. I think she did a really good job illustrating the positive visuals of the game on the page. Like translating a board game into a Kickstarter page, I think Gwen did a really great job of that.

Gwen Ruelle: Thanks, Sam. Yeah, we were really excited about the community that we found with game design, and sure you've had this experience as well. Game designers are amazing. Everybody wants to help each other out. Then the people who come to play indie games just like is so incredibly supportive. We just couldn't believe the … It was incredibly overwhelming, the first day of the Kickstarter watching the flood of support that came in and we're incredibly grateful for that.

Patrick Rauland: You're in the manufacturing process now. You've gone through the awesome Kickstarter. By the way, I just want … one more thing I forgot to mention my question is. I think you were funded in two hours, which is amazing, right? It's like not just the total dollar amounts, but reaching your goal in two hours is insane.

Gwen Ruelle: Thank you.

What Didn't You Know About Manufacturing?

Patrick Rauland: You're in this manufacturing process right now. Is there something … What's kind of cool about being in the manufacturing process is maybe there's things that you didn't … I know you said in a podcast earlier when you're launching your Kickstarter, is there something you didn't think of that would … Is there a problem that came up or something unexpected that an indie board game designer, if they're running on Kickstarter, needs to know about with manufacturing?

Gwen Ruelle: It's going pretty well right now, but manufacturing is a whole beast that we … I think when we first started making this game, I don't think we even really looked that far ahead. Similarly to starting a business and anything like that, the learning curve is just gigantic. We're manufacturing in China and we are really actually having a great … So far everything's been going really well. We'd got our first sample not too long ago, and we'll be probably printing another one soon.

Gwen Ruelle: It's just that when you put out this prototype and a lot of people have seen your game and a lot of people have interacted with something, you really have this vision by the end of exactly what it needs to be. Making sure that the product that's actually created is that is tough. It's just a lot of back and forth and a lot of feeling like you're reaching across the ocean and being like “Please, please, please get this right. We need everything to be perfect for our backers and for the community that has been so supportive of us.”

Sam Bryant: I would definitely say be prepared to be humbled by the manufacturing process. From beginning to end I'm sure I will be humbled again. It's just so much to take in. It's a whole different language, terminology, but you can get it. If you keep working at it, look at examples of other people, talk to people in the industry, and just having conversations with manufacturers. It all becomes demystified over time.

Sam Bryant: I will say in the beginning when we first … years ago, long before the Kickstarter when we first realized if we're going to manufacture this game on a large scale, we're going to have to do it outside of the country. I was reading some stuff on Jamey Stegmaier's blog and I just had a panic attack. I was like “Wow. International shipping, this is beyond me at that moment.” I don't know. You keep at it, it becomes more manageable and you become well-versed in all the different topics of it.

Gwen Ruelle: What's really funny is we … Yeah, we're learning all of this. So much of this is the first time we've learned it. There's just small things that will totally blow your mind because you just have never done it before. Luckily I've worked with printers in the past because of graphic design, but the fulfillment is probably the thing that shocked me the most was like what it takes to ship your game.

Gwen Ruelle: You don't actually think about your game being on a ship and coming to the United States or going to wherever until the moment actually comes where they're saying, “Okay, it's going to cost this much extra because we have to go through the Panama Canal to get it to New York.” All of a sudden, the reality of what that actually is, and it doesn't mean anything to you until it's your own product and it's the thing that matters the most.

Gwen Ruelle: Partly, of course, you're hearing all these crazy stories about all these nightmare things that could happen, but I think it's really just the huge reality of what it takes to make a product, and that is … Yeah, like Sam said, you'll just be humbled and humbled again and again. There's unlimited research, and there are people out there who can tell you everything there is to know and it's incredibly helpful.

Sam Bryant: It's kind of funny. I feel like I almost misspoke before. Because I realize sometimes that the manufacturing process for me, I have this wonderful force in my best friend, Gwen, in the way that she is a graphic designer. When they're like, “You have to format the box this way and move the components around, “I'm like, “All right, Gwen, we got to do that.” Then I sit there and she's like, “How does it look?” And I'm like, “I think it looks great.” Yeah, definitely that knowledge that Gwen has has been invaluable in the process.

Patrick Rauland: Advice for other board gamers is to be in a romantic relationship with your … have a romantic partner as a graphic designer?

Sam Bryant: It definitely helps.

Patrick Rauland: Okay. I'll work on that.

Gwen Ruelle: I think just kind of knowing what you know and knowing what you don't know, to be cheesy, but realizing where the learning curve is and what you need to figure out is so huge, because I think … There's just the two of us, which I guess for a lot of people there's just one, so we're lucky to have each other. You look at these people with teams and at first you're like, “Why do you need all those people? I can design a game. I could do this.” Then all of a sudden you're like, “That third person, that fourth person, that tenth person would be really helpful because they might know something about this really specific thing that I have no idea.” Yep.

Any Advice For Someone About to Launch A Kickstarter?

Patrick Rauland: Okay, so maybe … I just want to change the question slightly. Is there something that you absolutely need … It sounds like everything went well or is going well in the manufacturing process. Anything that's coming up you're handling. Is there something that you would recommend like you absolutely must do for another person who's about to launch on Kickstarter? Is there something that they … like a critical step?

Gwen Ruelle: About the launch?

Sam Bryant: Yeah, just before launch? I would say, I don't know, one thing that was helpful for us, too, is having a semblance of what you want your stretch goals to be and having those priced out before rather than thinking, “Well, maybe it will go moderately well and I have a few ready, but maybe there's some vagueness in the future.” I feel like that could definitely run you into some trouble in the end. Because all of a sudden you're adding all these things are coming into the game that you weren't necessarily actually believing were going to be a part of it, but you're incited to incorporate, but obviously that changes the whole math of the entire project.

Gwen Ruelle: Yeah, prepare for success.

Patrick Rauland: Got it. Okay, so I've submitted a few quotes to manufacturers or requested a few quotes from manufacturers. Do you submit each one? Do you submit like eight different quotes to manufacture, or do you just send here's the bottom, here's the top and figure out … just sort of do a rough idea of what's in the middle?

Gwen Ruelle: We submitted probably like eight as well. Yeah, I think we did do eight, but that's partly because we were also getting to know who the manufacturers were. I think it's not just the price that they give you, but also how quick they are to respond, how much of an issue they have with answering questions.

Gwen Ruelle: Not to name names or anything, but we did have one manufacturer that we were moving forward with, but at some point they were so sick of answering our questions …and granted we had a lot. We didn't know what we were doing, so we had a lot of lot of questions … that they started just being like, “Why don't we just figure that out later” and “Once you've done your Kickstarter we can figure that out.” For us, that didn't work for us.

Gwen Ruelle: That might work for somebody else, but personally we needed to know the exact number so that we could calculate what our game should cost. We also just needed to have someone who is wiling to hold our hand through the whole process. Even though they gave a quote that was appealing, it ended up not being the manufacturer that we went with.

What One Resource Do You Recommend?

Patrick Rauland: Super. That's very, very helpful, thank you. Okay, let's change gears a little bit. As an indie game designer there's a lot of information out there, and I never know what is the best or most helpful information. What is a resource that you think is essential for a game designer?

Gwen Ruelle: I would say going to every event you can and showing your game, partly because you'll get that feedback from other people. Because you'll meet people and having those conversations was probably where we got our best advice, and it's so much easier to sort through that advice in person from somebody than it is to try and sort through what's online. Obviously Jamey Stegmaier, I'm sure people have mentioned before, is incredible and is the first place we go for everything we need, but being able to talk to someone at an Unpub event, so Unpub is an incredible resource. The Boston Festival of Indie Games ended up being … and the Connecticut Festival of Indie Games, the sister festival, ended up being incredible resources for us for not just networking, but finding a community that we could then reach out to the day before our Kickstarter and say “What do you guys think? We're trying to decide between setting our shipping this way or this way,” and they'll just say, “Okay, go with this.” Having those people that you trust that you can just reach out on a moment's notice to preview your page or whatever it is, is a lot easier than trying to sift through these advice websites and stuff like that.

Sam Bryant: Yeah, it can be hard because with them they have … you can ask a very specific question and they're like, “I had a personal experience” rather than being on Google like, “All right, if I want to change this type of card to this type of paper at this point” and then you hit search and nothing comes up because clearly you've gotten way to targeted. Yeah.

Gwen Ruelle: Yeah, yeah.

Sam Bryant: It's great having people who have gone through the process. They can also … The best part about it is when you're in the middle of the Kickstarter and you're kind of losing your mind. They can all look at you and be like, “Yeah, we were all there as well. This is a very stressful and wonderful time all at the same time mixed together with all the emotions flying around.”

Gwen Ruelle: That being said, we offer it to anybody we meet. If anybody ever has any questions, feel free to reach out to us. We're happy to answer whatever we can. We've gotten so much help from the community that we want to give back in any way we can. I think there are a lot of people like that who would be willing to check out your rules, look over your page, whatever it is and help you through the process. It's amazing.

Is Game Design Energizing or Draining?

Patrick Rauland: You're just getting through the manufacturing and then fulfillments. Getting to this point is insanely cool. Is this process energizing for you or is it draining?

Gwen Ruelle: It's such a funny question.

Sam Bryant: I guess it's a mixed bag. There's certain moments where you feel like a limp piece of noodle stuck against the wall that's slowly sliding down to your doom, but then …

Gwen Ruelle: Yep.

Sam Bryant: You know what it is? The thing that will energize you more than anything is showing your game to someone and having a good time playing it with them or having them play it, and then they're like, “I had a great time” and you can see the joy on their face, and you're like this is why I'm doing it. I'm trying to bring an experience to people. That will really keep you going even at the point where you feel really overwhelmed by the rest of the process.

Gwen Ruelle: I also love when you come up with a new mechanic for your game. That is the most energizing thing when you find something that you love or you solve some sort of problem. It's really good.

Sam Bryant: That's true. My favorite cards, every time we develop a new card that's my favorite card. I'm like, “Isn't that the best mechanic in the game?” I show it to my other friends, they're like, “I don't know. I still like the other one that you made before.” I'm like, “But this one's new and exciting. I haven't used this one 10,000 times.

Gwen Ruelle: Yeah, so true.

What Does Success Look Like?

Patrick Rauland: That's awesome. Okay, seriously, you're getting so close to the end. What does success look like for you in the board game world? Are you going to keep designing more games? Are you going to go full time? What does the roadmap look like to you?

Gwen Ruelle: Oh man, full time would be amazing. For me, success is just to continue doing what we're doing and designing games in any shape or form. We started with a Kickstarter and it's been a really great experience and I hope to do that again. I think we most definitely will, right Sam?

Sam Bryant: Yeah, for sure.

Gwen Ruelle: I also am interested in designing games in other forms. As long as the word design is part of it then I'm happy.

Sam Bryant: Yeah. Yeah. No, I'm just excited to keep pushing forward. I already feel like the fact that we took an idea and it became a tangible thing and it's going to be in a box and it's going to be shipped to all these people, that already feels … I couldn't be more thrilled about the way it's gone. As Gwen said, just to continue with that process and just keep making ideas into something concrete. I'm excited to do that again.

Patrick Rauland: I muted myself, so you guys did not hear me blabbing to myself. Great. I don't edit, so the podcast listeners are going to have a nice three Mississippi of silence. Were you two freaking out on the other end?

Sam Bryant: I was like, “It's my fault. It's my internet. It's too slow. I'll be blamed.”

Patrick Rauland: Nope, that was me.

Sam Bryant: Is it something we said?

Patrick Rauland: Yes, I was so offended by what success looks like to you. Okay, so here's what I said is that congratulations. Best of luck. Happy, happiness. That was what I said.

Sam Bryant: Thank you.

Overrated / Underrated Game

Patrick Rauland: Yeah. I like to end my show with a little game called overrated/underrated. Have you heard of this or played it before?

Sam Bryant: I've not played it, no.

Gwen Ruelle: Heard of it.

Patrick Rauland: Oh, excellent. Basically I force you to take a position on a topic, and then I ask you for one or two sentences to describe it. I think since there's two people here, I think we should just take turns or you two should take turns and alternate. If I said Teenage Mutant Ninja Turtles, overrated/underrated, you'd say, “Oh, I think they're underrated because pizza and turtles is the two best things on the planet,” something like that. Got it?

Sam Bryant: Yeah. All right.

Patrick Rauland: All right. All right, so first one, let's go with you, Gwen. Metal coins or metal dice in games, like really, really premium components in games. Overrated or underrated?

Gwen Ruelle: Sam, you go first.

Sam Bryant: Oh, you're throwing me in now? Did you just tag me in? Deluxe components themselves, overrated or underrated, or were you rating the dice against the coins?

Patrick Rauland: No, no, just deluxe components.

Sam Bryant: Oh. Overrated/underrated. God, that's so hard to say because there are certain points where I feel like, yes, that is true. This in this instance it is overrated. Then sometimes I'm clanking those little coins around in my hand and then I throw them down on the board as I take this action to decimate my opponents, and then I'm pretty excited that it's the metal falling from my fingers. I would say in general though maybe overrated because I think there's a lot of games that would be great without the extra weight.

Patrick Rauland: Good answer.

Gwen Ruelle: That's a good point. That's a good point, but I'm going to go with underrated because I really like metal. I think that metal pieces are awesome.

Patrick Rauland: All right.

Gwen Ruelle: Everybody knows that, so how's it underrated, but still.

Patrick Rauland: All right, so Fahrenheit 451, either the book or the movie?

Sam Bryant: Haven't seen the movie yet. The book, definitely I would say at some point maybe it was overrated when it had a lot of fanfare, but a lot of people don't know what it is now, so I think it has now moved into the underrated category because it's such an amazing book.

Patrick Rauland: I like it.

Gwen Ruelle: Agreed, agreed. Underrated.

Patrick Rauland: All right. This next one, exploding dice, and by exploding dice I mean like in a role playing game or any game where you roll the highest value and you can roll again. On a D6 roll 6 you can just keep rolling util you stop rolling 6's. Does it make sense? As a mechanic is it overrated or underrated? Sorry, didn't even ask you the question.

Gwen Ruelle: Okay, I'll start. I think it's overrated.

Patrick Rauland: Oh no. Why?

Gwen Ruelle: Now I'm really questioning my response to this.

Patrick Rauland: No, no, no. There's no wrong answers.

Gwen Ruelle: From what you just described, just because it's rewarding luck with more luck. THere's somebody sitting there who's just so, so annoyed, and they just have to go just wait through it and I feel terrible for that.

Sam Bryant: That's true. It depends on your position. If it's happening, the luck is against you, it's definitely overrated. If it's happening to you it's underrated. You're like, “You don't know how good this feels right now. I just got seven 6's in a row and won the game arbitrarily.”

Patrick Rauland: All right. The last one … If you haven't figured this out, they're all sort of fire related. Last one is the flash costume in the latest TV show. The reason I bring up the Flash costume is because I think Cisco, one of the characters, says it's based on a fireman's uniform that he made up. The Flash costume in the latest CW TV show, overrated or underrated?

Sam Bryant: Based on my knowledge of having not seen that particular show yet, I will definitely say that it's underrated, on my expert opinion.

Gwen Ruelle: I'm looking at a picture of it right now, and I'm going to go with overrated.

Patrick Rauland: Why's that?

Gwen Ruelle: I like it, but I think that if you're going to be Flash you wouldn't just be red. You should be multicolored with orange and yellow as well.

Patrick Rauland: Yeah, it is pretty heavy. A dark red is pretty heavy.

Gwen Ruelle: Yeah.

Patrick Rauland: A couple there's like yellow, there's like one yellow knob, you know what I mean? It's pretty loose.

Gwen Ruelle: You have this opportunity to not look like other superheroes, I feel like, and it's kind of generic.

Sam Bryant: I'm looking at it as well. The material reminds me a lot of like Daredevil suit in the new Netflix series. I don't know. It's almost like they all have the same material now. They're like, “This is what superhero costumes are made of from now on.”

Gwen Ruelle: Waffled. Waffled material.

Patrick Rauland: Hey, you completed the game and you both win.

Sam Bryant: Yay.

Gwen Ruelle: Hurray.

Conclusion

Patrick Rauland: Thank both of you for being on the show. Where can people find you online?

Gwen Ruelle: Runawayparade.com is our website, and we're on Facebook as Runaway Parade, Twitter @RunawayParade, and then Instagram is oddly RunawayParadeGames, but anyway. Really switched it up there.

Patrick Rauland: Thank you both again. You were phenomenal guests. Dear listener …

Sam Bryant: Thanks so much for having us.

Patrick Rauland: Yeah.

Gwen Ruelle: Yeah, thank you so much. We really appreciate taking the time.

Patrick Rauland: Yeah. Dear listener, if you like this podcast, please leave a review on iTunes. If you leave a review, Sam and Gwen said they'd be willing to shoot a flamethrower right at you, which not many people are …

Gwen Ruelle: Right at you, okay.

Patrick Rauland: You can visit the sit at indieboardgamedesigers.com. You can follow me on Twitter. I'm @BFTrick. That is B as in board game, F as in font, and Trick as in trick taking game. Until next time, happy designing everyone. Bye-bye.

Patrick Rauland: Hello, everyone, and welcome to the Indie Board Game Designers Podcast, where I sit down with a different independent game designer each week, and we talk about their experience in game design and the lessons they've learned to get to where they are today.

Patrick Rauland: My name is Patrick Rauland, and today I'm going to be talking with Cecilia and Eric Hyland, who are designers behind Fleecing Olympus, which is having a pre-release at Gen Con. We're recording this a couple of days before Gen Con, and it should have a full release after Gen Con, which is when this episode will come out. Cecilia and Eric, welcome to the show.

Cecilia Hyland: Hello

Eric Hyland: Hello.

Patrick Rauland: So, if they sound strained, it's because we had to tweak their audio setting so there wasn't background noise. It sounds like they're quiet yelling, that's just the audio magic we had to do today.

Cecilia Hyland: Quiet yelling! Woo!

Eric Hyland: Quiet yelling!

Continue reading “#27 – Cecilia & Eric Hyland”

Hey everyone. Patrick here for another bonus episode. Today, I'm going to be talking to you about something that I participated in for the last week. So, there's actually right now a global game jam going on for roll and write games, which I found online a few days ago, probably three, four days ago. Before the jam started, I should say. And I want to participate in it, so what I thought I'd do is I thought I would record every single day of this game jam, because it goes on for seven days.

So during these seven ten days, and if you haven't heard anything about game jam, there's a couple people on this podcast who talked about them, but basically I'm probably going to be working either by myself or with a friend to try to make a game based on the criteria for this game jam, and you have the duration of the game jam to do it. So usually there are, you know, a couple days, or a week, or they might limit you in terms of hours spent on it. In this case, I have seven ten days to finish this game jam and submit something.

Day 1

Now, it is a roll and write game jam, and that's basically all I know about it. They haven't posted the full rules until this morning. So in a minute I'm going to take a look at those rules. The last thing I just wanted to say is that I already have a couple of friends interested, so we've been, you know I sent the link to them. I said, “Hey, does this look like something you'd be interested in?” And I got two friends who said, “Yeah, maybe.” So depending on what the rules are, I'm gonna check them out. I literally have not seen them yet. So I'm gonna pull up the website in just a minute. But I might have two friends.

I've kind of thought about, so the work I've done ahead of time is I'm thinking about an Avatar: The Last Airbender roll and write game. I've been thinking about non … Oh boy, what's the word? Non-transitional? Nope. Non … Oh no, I'm forgetting the word, but like non-transitional dice? Oh man. I will come … Non-transitive dice! There we go. Non-transitive dice, which is kind of like where this die usually beats this die, a different die beats that die, and then basically dice that usually beat each other in kind of a circle.

So yeah, that's kind of what I've been thinking of, special dice, and then an Avatar: The Last Airbender game, and that's all I got. So let's see, I'm gonna pull up the website. Here it is. The jam is live. Oh. The theme of the jam is autumn. There are also component limitations, so autumn might not work with Avatar: The Last Airbender. So I don't know if I can do that.

Okay. So there are also component limitations. Roll and write games, who can take part, we just have to finish a week, judges. All right. Let me see the component limitations. For the specifics click here. The theme is autumn. Time of leaves and harvesting, the legacy of the autumn is … We can interpret autumn … influenced the [inaudible 00:02:54], but it must be … Okay. They so they said the theme can be loose, but it has to be in there somewhere, so it could be pumpkin spice lattes, or it could be pumpkins, or whatever.

Roll and write … Oh, components limitations. So games must use no more than:

  • One A4 letter sized sheet of player per player
  • One piece of paper as a board
  • One extra piece of paper for the rules
  • And six standard dice. That gets rid of my non-transitive dice.

Oh, one more thing it says at the bottom. This roll and write jam, [inaudible 00:03:31], the gist is to make a game from scratch over the next week. Of course, we wouldn't know … Yeah, yeah. Cool.

Okay. So, the only ideas I had ahead of time, non-transitive dice and Avatar: The Last Airbender are probably not gonna work for this. So this is day one, I will come back in day two and let you know where I'm at with this. All right, bye bye.

Day 2

So, today is Sunday, day two of the global game jam on roll and writes. It's 7:55AM and I basically just got up. Yesterday was, I was pretty surprised by the restraints of this contest. I was really hoping I could use special dice where I could put whatever I wanted on each die face. Or use the theme for Avatar: The Last Airbender, that was kind of all I, you know, just had rolling around in my head before the theme was announced, or the restrictions were announced.

And so, yeah, when I read that yesterday, I was really, really surprised. And just because I was basically starting with nothing. Not even like an idea of what I wanted. But, yesterday I spent, well, all of yesterday spit balling ideas with two friends while we were out hiking, which is what you do in Colorado. And then there happens to be a local gaming convention where I went to with one of those friends. So we went to this local gaming convention, we played four different games. You know, like a lighter game, you know, like an hour long game, like a two and a half hour long game, and a really short 15 minute. So it was really good, because we got all these different ideas, inspirations from different types of games while we were there.

Coming Up With Themes

And we kind of came up with like four different ideas for this contest. So let me share them with you.

Theme 1 – Corn Maze

So one of the coolest ideas that I don't think we're going to pursue, but it's really fun sounding is like getting lost in a corn maze, and maybe there's someone chasing yo you, or you're trying to escape, or maybe it's the first person to escape the corn maze wins. I really want to explore the space of drawing lines and figuring a way out of this maze. Or maybe it's more like Escape from the Aliens in Outer Space, or whatever that's called, where you're trying to be on the same space as someone. But I just couldn't figure out how to do that with D6s, unless I said ones move up, twos move right, threes move down, which I didn't really want to do. So I've been thinking about that, but it's a cool idea. But it's hard to do with regular D6s.

Theme 2 – Thanksgiving Dinner

I also like the idea of coming up with the best Thanksgiving dinner as a game. So maybe there's like a giant turkey, and if you give the turkey and you're the first person, it's like 20 points. And if you get turkey and ham, there's a bonus there. Maybe there's like all sorts of different food groups and set collection. I like the idea of that.

Theme 3 – Ultimate Halloween Route

So going, again, back to Halloween, I really liked kids planning the ultimate Halloween route, which I think, and I kind of thought of it as I was looking at, what's the game? “Welcome to…” where there's all these houses on the neighborhood, and you can like, “Cool. I'm walking by this one and it has apples. Gross. Negative one point.” Sorry, or maybe you don't walk around that, you try to avoid it. And then there's this one has peanut butter cups, yes, that's two points. And if you get two peanut butter cups in a house in a row that's five points. Whatever. But again, the route build. I love the idea of route building, I'm just not sure how to do that with regular D6s. And I could just maybe build a regular neighborhood and it's more about the, you know, the snickers, and the butterfingers, and the peanut butter cups instead of planning the route. But that one's kind of sitting on the back burner for now.

Theme 4 – Making Potions

The last idea, the one that we're most excited about right now because we think we can actually achieve it is what we're calling Witches Brew, which is where you make potions. So there's, I think, 15 potions right now, and some of them require a couple ingredients, some of them require a lot of ingredients. And then ingredients sort of stay in between rounds.

So, let's say I roll a red two. So, I think you get three dice. So red, blue, and yellow is what we're going with for right now. And you're using ingredients for potions. So, let's say a love potion requires for red, and I on the red die roll a two, I can cross of two of the check marks on the love potion check list I guess. So you can kind of build up towards it. “Oh, if I rolled a red four, I could get all of them in one go, which would be awesome.”

You can waste ingredients, which loses you points. So if I rolled a five, I could complete the love potion, but I'd also have to mark off wasted one item, which is minus one point. So I'd get a bunch of points for finishing the love potion, and you get more points for finish something first. So it might be worth it, even if you, you know, roll a red five. It might be worth minus one point just to finish it first.

First Playtest

But yeah, that's kind of what we're most excited about. Different colors with different spaces of the board. And there's something, we're still figuring this out, because we did get a play test in yesterday. Yeah, Dave and I came up with this yesterday, we got in a play test, and for a first play test it wasn't bad. It didn't explode, and there are fun choices. And I think for a first play test, that's amazing. There's a ton of room for improvement, but I'm just happy it didn't explode. That was the thing I was most worried about.

So hopefully, today we'll get more work done on that game and have some more fun playing games at this convention, and yeah. I hope to have an update for you tomorrow on, I don't know, just the cool stuff we're doing. And hopefully we've made some progress on one of those ideas, hopefully Witches Brew. But that's what I got, and I'll talk to you more tomorrow.

Day 3

Hey everyone, it is Monday. That is Labor Day here in the US, and that means it's day three of the game jam. So, yesterday was really productive. I went to B-Con, that's a local convention, and I played Potion Explosion just for sort of inspiration. Don't know if I got any cool ideas, but it was just fun to pull out marbles and make potions explode.

We played a couple different games, and then David and I had a playtest of Witches Brew. So the play test was with my friend Heather and her husband. And Heather gives really detailed feedback. Overall, the game was definitely better on the second day than in the first day. I think one of the big things was we added some rules to make it easier to, basically when you finish one potion, you used to have to like throw away any extra ingredients, any extra value on your die basically. But we sort of said, “Hey, when it's the last thing you're filling up on your potion, you can immediately start a second potion.” And that little rule really sped the game up, so I really liked that.

We did all have pretty similar scores by the end, and there are a couple of different strategies. So, David went for getting as many dice as possible, which isn't worth a lot of points, but if the game had lasted one more turn he probably would've maybe got close to first. And if it lasted two more turns, he might have won, just because he was rolling six dice every turn and then the rest of us were rolling three or four.

So, and yeah, my strategy is I got one extra die, and I was focusing on the points. And I saw David was crushing it, so I basically finished the game as soon as possible, even if it meant less points for me just because I knew he would take it away and win with that. So, I'm really happy that there's different strategies it seems like. I'd like to see more strategies, but for right now, there's multiple strategies, which is good.

The biggest piece of feedback which we got. Sorry, I should say the piece of feedback that resonated the most with me, the thing that I think we need to fix the most is that the magical potions don't feel magical enough. Which I agree with. They kind of, for the most part, when you finish this potion, it's like, “Check off one free red box on a different potion.”

That's just so boring. And it's small, right? It's not like one box is not usually meaningful. So a little bit last night, I redid the sheets graphically so there's kind of spaces to fill out your points and all this stuff. And then just this morning, right before recording this, I redid the rewards section of the potions. So some of them have really cool one time effects to make them feel more magical.

David's gonna try to get a play test in today, and hopefully, I think … I sent him an email, hopefully he can print out the new sheets that I just finished. And then hopefully he'll have more feedback to make more changes tonight. So we're moving right along. And then, I'm hoping later this week, I have, you know, some dinner plans with friends that like board games, so I'm hoping we'll get in a quick play test, a few more play tests later this week.

And then just the last thing I just want to share is that Heather also brought up an interesting point of like, “Yeah, Patrick, witches making potions. Got it. But why are the witches making potions?” And that's totally something we can explain in like a one page rules document, right? Is like are they selling them? Are they drinking them themselves? Is it a competition? So, I don't know what the answer is there, but I do need to start thinking about that. And since the requirements for the game is to fit on one rules document, I think today I'll just … Right now it's al on Evernote, I think I'll transition everything to like a Google Doc so that way I can start filling it in, and know how much space I have, and work on the theme and all that stuff.

So that's where I'm at with day three, and I'll check in tomorrow.

Day 4

It is day four of the Roll and Write Global Game Jam. It's 10:40AM. I had some work to do first thing this morning like paying myself, apparently that's important to do when you work for yourself. So remember to do that. And then, after I got done all the like absolutely essential things, I did spend a little bit of time tweaking my game based on some feedback I got yesterday.

So yesterday, there were two play tests, but I wasn't present for either one of the, so, one of them was by my friend David, and he ran it with his family. And I think he kind of like, there was like a hybrid approach where he took some old stuff and some new stuff and kind of merged it together, so he didn't see good results, but part of that may have been just kind of how he was gathering the rules at the last second type thing.

The other one was done by Keith, I'm gonna mess up his last name. Is it Pigot? Pigott? Sorry. It's P-I-G-G-O-T-T, who is one of the other contestant. So I saw his came called A Walk in the Woods on Twitter. And it's looks fantastic. He was able to figure out a really cool path mechanic where you're walking around the wood, and it kind of looks a little bit like a crossword puzzle, and you can kind of draw your line through the woods based on what numbers you roll. And then there's like on certain spaces, there's like leaves, or deer, or other things. And the more of those, like there's like set collection. So like deer are worth a lot, but there's not many on the board. And whoever has the most of these gets points, or the least of these gets points. That type of thing.

So, I saw his game on Twitter, and I reached out. And this is one of those things where you just have to be assertive and be like, “Hey, I want to have my game play tested. I'd be happy to play test yours. Does that work for you?” And he reciprocated right away, and he actually sent me feedback before I sent him mine. So that was super helpful.

So let me talk about his play test first. So, he gave me some pretty good feedback. Overall, it sounded like the game was in a good spot, or at least not a terrible spot. There were a few areas of the rules which were confusing, so I can hopefully clean those up just to make them a little bit more clear.

And then he made a completely new suggestions, and while I'm not sure it's the right call, it is absolutely worth testing. And that's kind of what I love about getting feedback from outside of your usual circles. So just to explain it a little bit, my game has a bunch of check boxes, and I don't know if you can hear my computer beeping. My game has a bunch of check boxes.

Now, one potion might have eight red check boxes and four yellow check boxes, so if I roll a four on the red and the yellow die, I can cross off all four of the yellow pips and half of the red pips, or boxes. On a future turn, I can try to finish that potion. Keith suggested that I change that to a simpler system where one potion might require two red dice with a three or higher, or one potion might require a red, a yellow, and a blue, and they all have to have the same value.

I'm not really sure if his suggestion is going to pay off, but I think the whole point of a jam is to try new things like this. So I modified my player mats, and I'm going to give it a go probably tomorrow. I have some friends coming over tomorrow for dinner. So hopefully after dinner I'll get a play test in.

Again, let me go back to David's play test super quick. It sucks not being in the room. He gave me some feedback, but because I wasn't in the room, it's really hard for me to like understand the feedback, does that make sense? Like he might've said, ‘This thing was hard to understand.” But if I'm not there, I don't understand exactly what was hard about that rule or something like that.

I mean, at least they didn't hate the game. But yeah, you definitely want to be in the room for these play tests. It's helpful, sometimes it's helpful like in Keith's example, he gave me a really cool idea, and I kind of got that one, but sometimes you just have to be in the room to get it.

So yeah. I'm not sure what I'll do tomorrow before the play test, maybe I'll work on some of the graphics or the rule book, but that's all for me today. All right. Bye bye. Talk tomorrow, I guess.

Day 5

It is day five of the Global Game Jam, and it is 9PM, or a little bit after. My friends just headed out after dinner and after a little play test. I was a bit skeptical of the suggestion that Keith made which I mentioned yesterday. I kind of thought there'd maybe be this time where you can't really use the dice. Like with my original system, you can kind of always cross of check boxes, you're always making progress, even if you consistently roll ones, you're at least crossing off one check box. That was my sort of rationale why I thought it might be better.

But after the play test tonight, I can say that I think I like the new system better. It feels more puzzle-y, where you're like, “All right. So these three boxes have to equal each other, so I'm gonna use the four here even though I wasn't planning on using it, but it matches the other two fours.” Or you know. “These three numbers have to be in numerical order, so I'm gonna put the one here. And this one's already there, so I'm gonna put a two here.” It just felt like you're kind of going all over the map, which is kind of fun.

And then one of the things that I didn't think about was with this new system, it actually integrates really well with my original reward system. So my original reward system is when you finish a potion, you can kind of check off one or two check boxes for free. Which in the original system, didn't feel like much, just crossing off two extra check boxes out of eight. It just didn't feel like much for whatever reason.

But in this new system, potions only have two or three boxes that you have to check off, so when you can check off one for free that is a huge accelerator. So there were times where completing one potion would help you complete two other potions, and that feels really fun to have these like chain reactions. And now, I'm honestly a bit torn on what I should do now.

Should I move forward with this new system, or should I keep my original system? And unfortunately, one play test isn't enough. I cannot possibly know after one play test. I really enjoyed this play test, but it's just hard to know. And it's hard for me to find a new group of people to play test with every night, or even the same group of people. Because they have lives, they have other things to do.

So, you know with a limited amount of friends that haven't played this game yet, I'm debating what I should do. I think I will try to maybe try to get in one more play test tomorrow, I don't even know with who yet. But try to get in one more play test tomorrow. And then maybe kind of lock it down from there, and maybe the future play tests should only like refine what I have. I'll probably get in one or two more play tests by the end of the jam, so maybe three more total.

But I think because I'm slowly running out of time and you know, I can't do games every single day this week. I have other commitments. I think I'm gonna have to start locking it down and just start making tweaks. And there's definitely some balance issues that I still have to figure out where some potions are not worth their points, and visa versa.

But yeah. I guess I'm hoping that maybe by tomorrow I can get in one more play test, and then start locking things down. That's me. Talk tomorrow.

Day 7

Hey everyone. It is day seven of the game jam, which is Friday. And it is three in the afternoon. So an update, I sent my game to my designer, and it came back with something pretty amazing. I honestly love it. I've been using this really ugly spreadsheet for most of this week because it's really fast to edit, and they came back with something that has like these really nice boxes, and you know, transparencies, and fancy fonts, and just all this stuff.

So I'm super excited about that. I'm constantly amazed what happens when you apply graphic design skills to a website, or a game, or anything really where the graphic design can always highlight what's important, and then kind of hide what's not important, right?

Anyways, so I have no idea how my game's gonna do in this jam, but if I do get any credit for anything, it might be because of the graphic design. I'm actually really, really happy with it. There are maybe eight to ten minor things in the design that I want changed. Unfortunately because it's Friday, I don't know if my designer has time to finish these before Sunday. I suppose that is one of the downsides of having a final submission on a Sunday. If you work with a professional, then they can't help you on those last couple of days.

So let's see. I have a date tonight. Yay! But that also means I'm not sure if I'll get a play test in. I'm guessing no, but you never know. There is a play test meetup tomorrow, Saturday. I'll be bringing my game with me, and since I definitely know I can't make any changes Saturday before the due date on Sunday.

I was kind of a little stumped on like, “Cool, I can play test it!” But if I find anything wrong, I just have to like be sad about it. And then I was thinking that I could actually do a blind play test and focus mostly on the rules page. So hopefully, I'm gonna, you know, I'm gonna bring everything with me, and there's usually enough people where I can get a play test in. And I'm hoping to just bring the rules page with me and just watch them and see how they go through it.

And even if they do find a couple, well hopefully, small issues in the main game itself, I'm hoping that the rules is the thing that like I know I can mag significant progress on the rules, because right now it's just sort of a blank page right now. So, yeah.

That's kind of where I'm at. Oh, one small thing. My printer right now is only printing black and white, so my beautifully designed roll and write needs me to add color manually. So I'm probably going to go to the store later tonight and pick up some just like highlighters of different colors just to add a bit of color where it matters. Because like the red die can only go here, the blue die can only go here, that type of thing.

So, that's a fun problem to have. It's only printing black right now, so I need to add all the color manually. But that's where I'm at. Two more days, and then I think this jam will be done.

All right, bye bye.

Day 10

Hello everyone. It is day 10 of the game jam. Now as I mentioned earlier, what I wanted to do this past Saturday, it's Sunday right now, is I wanted to blind test the game. And there was a meetup, and it just happened there were tons of new people, so I actually got a ton of great feedback, I got two pages of notes on all the things that they got wrong with my game.

There were one or two tiny things that I can adjust on the player sheet, but primarily it was the rules page itself. Now, one of the things I realized is that I've only verbally explained the game. Basically no one but me has read the rule book. Does that make sense? That means that there are rules in the game that were never written down. I thought I wrote them down, but I never did.

And that became quite apparent in the play test. It was really fun and challenging and horrifying to watch them make assumptions, and some of them they got right, and some of them they got wrong. And I just let them finish, you know continue playing that way. And basically I'd listen to their arguments of, “Well I think we have to play the rule this way because of this.”

Honestly, I think because of this blind play test, my rules are five times better. Like there's so much. I reduced a lot of those potential mistakes that might've happened. So if you are working on a game jam, spend the last day just working on the rules. It will really clear things up.

I did double check. I double checked, triple checked, quadruple checked everything this morning, and then I submitted it just a few minutes ago. So now I just have to sit back and see what happens.

Jams vs Contests

So just overall thoughts on this game jam. I have to say I really enjoyed this process. I feel like I got more done in a 10 day game jam than in a three month game design contest. It's kind of like studying for finals at college, you just go into this zone where you're just studying, studying, studying and you can produce excellent results. And I think I'd rather go into focus mode a couple times a year than constantly tweak things and never make significant progress.

So I'm looking forward to more game jams. I'm most likely going to post my work during this game jam. Oh, sorry. I misread my notes here. I'm basically, probably gonna post what I have right now as this. So everything I've recorded so far as its own episode. And then, if possible, I'm going to see if I can get the creators of the contest on the show and hear about it from their end. And maybe we'll do that like when the contest ends, just because I think it'd be fun to hear about … because I think they got … Well I'm hoping they get a ton of submissions, but I'm guessing they're going to get 20, 30, 40, maybe more. So it'll be cool to see how many submissions they get.

Update on Fry Thief

And then, just a little bit of other news for me. I've done some significant graphic design for my game Fry Thief. I have a page on my website dedicated to the progress on Fry Thief. You can see some of the illustrator's work, and the tweaking of the cards, and all that stuff. I am starting a newsletter which will have maybe a once a month update on the game. So if you want to subscribe to that, you can find it on my site indieboardgamedesigners.com.

You can follow me Twitter, I'm @BFTrick. That's B as in board game, F as in Fun, and Trick as in trick taking game. Thank you so much for listening to this. I don't know if you enjoy this format of like listen to me go through a game jam, kind of my process. Let me know, because then I can do more of these. I really enjoyed it. But if it's super boring to the listeners, then you know, I probably won't do it again.

So that's all for me. Good luck to all the contestants out there in this game jam and other game jams. Have fun making board games. Bye bye.

Patrick Rauland: Hello everyone, and welcome to Indie Board Game Designer's podcast, for a sit down with a different independent game designer each week and we talk about their experience in game design, the lessons they've learned and how they got to where they are today. My name is Patrick Rauland, and today I'm going to be speaking with Gil Hova, who is the designer behind a bunch of games, including Wordsy, The Networks, as well as hosting approximately 500 different board game podcasts. Is that right, Gil?

Gil Hova: That's about right, yep.

Patrick Rauland: 500 great! All right. So your company is called Formal Ferret Games, and I think before I want to know anything else, why did you name your company Formal Ferret Games?

Gil Hova: I was a game fan. I played a lot of games. I tweeted about games. Not that I'm not a game fan now of course, but I was on Twitter. I was on BoardGameGeek, and I was an aspiring game designer, and I had an Avatar that was a very pixelated picture of a ferret with a bow tie. If you want to know the story behind that, I've been a ferret fan for a long time. I adore ferrets. They're my favorite animals in the world. I've had ferrets as pets for about 20 years. This was always going to be a part of the deal.

Gil Hova: So here I am, with my Avatar, and I want to start a company. So I want to choose something that people recognize me from. I don't want to just do something totally new that means I'm starting from zero. I want someone to see it and, “Oh it's a ferret. It must be Gil.” So I chose to base it off that Avatar, which I'd borrowed let us say, from the store called The Ferret Store, which is no longer around. But they sold a bunch of things for ferrets, including bow ties. So this was the picture of their bow tie product. A bow tie for a ferret.

Gil Hova: So I figured that's a formal looking ferret, so I'll name my company Formal Ferret. Passed it off to my artist, Scott Hartman, who drew the logo. Did a great job with the logo, and added the hat at his wife's suggestion. So now the Formal Ferret has both a hat and a bow tie, looks really sharp and that's the story behind Formal Ferret.

Gil Hova: I know it's a little strange, because there's so many game companies out there that use the adjective “animal schema,” and I know I'm not the only one. So once all those others started popping up, and especially a bunch of mustelids also, because there's Formal Ferret, there's Blind Ferret, there's Devious Weasel.

Gil Hova: I'm surprised there aren't any otters out there, but yeah, there are a ton of mustelid companies out there, not just mine.

Patrick Rauland: So when are you adding the monocle to the logo?

Gil Hova: Someday. The monocle will come in someday I'm sure.

How Did You Get Into Board Games?

Patrick Rauland: So the real first question is, how did you get into board games and board game design?

Gil Hova: Sorry, I hit the wrong button. I was trying to silence my phone and did the opposite.

Gil Hova: I always wanted to be a game designer, even as a kid. Playing kids on my Atari 2600, I wanted to be a game designer. I wanted to work at Activision. Activision existed back then. Back when dinosaurs roamed the earth, etc. So here I am, little kid playing video games. Then I became this college kid playing video games. Then I became this young adult playing video games, and I figured that if I wanted to start designing games and work on this dream of designing video games, maybe I should start with board games because board games were more a pure form of game design and I wouldn't have to worry about all this annoying implementation.

Gil Hova: I actually did play a lot of board games growing up. The only problem is I played them solo, because this is where the sad bit comes in. I didn't really have anyone to play with, wah, wah. It's interesting which games I grew up with. I grew up with games like Ogre, Car Wars. A lot of the Steve Jackson games. I had a lot of rule books to role playing games, that I would read but I would never actually play. See above. And it would wind up being me just reading these rule books and occasionally playing them solo and seeing how it worked.

Gil Hova: So here I am, young adult. I want to get back into board games, so I need to find out what Steve Jackson's up to, because I had Illuminati as a kid, and all those other games. So what are they up to? Oh, they have this new game called Munchkin. Okay, that's interesting. So I read up about it. Then I hear about these new kinds of games called euros. You can tell this was around 2000.

Gil Hova: So there's this game called Settlers of Catan, that had come out a few years ago, that people are really into. Just as I started getting into it, this game hit called Puerto Rico. I was actually at my first game convention. My very first game convention, and I'm just standing around between tables, and somebody comes up to me and says, “Do you want to play a game?” I'm like, “Well, I guess so. What's the name of the game?” And the guy's like, “Oh, it's called Puerto Rico. You're going to love it.” And they were right. I did love it.

Gil Hova: That was the first board game I played that suddenly opened my eyes, because all these board games that I'd been exposed to, especially all these older Steve Jackson games, they all rely on backstabbing, and direct attacks, and things like that. In Puerto Rico, there's interaction, but there isn't an enormous interaction. You're building this engine and you've got this complex system that you're wading in, and I loved it. I just adored it and I loved the low interaction from day one.

Gil Hova: That was the game that pulled me in, and at that point I realized I liked board games more than video games. So at that point, I stopped playing video games, started playing board games and just fell deeper and deeper into the hobby. Then with that, I started trying to design board games and it took me a long time, but eventually I started figuring out where the handle was.

Why Not Video Games?

Patrick Rauland: I was going to ask you why didn't you go back to video games, but it sounds like you just … At the very end of the story there it just sounds like you fell in love with board games and you have no need to go back to video games?

Gil Hova: Yeah. It's just video games don't do what board games do for me. I love the cinematic angle of video games, but I started getting tired of the repetitive violent themes, like how they're all trying to out shock each other. I didn't like the casual sexism or not so casual sexism in so many of the triple A games. Again, this was back in 2000. I got really numb to it. My favorite games were like Rollercoaster Tycoon, and yet they kept on insisting on coming out with these violent shoot-em-ups, and it just wasn't my thing.

Gil Hova: Board games represented at least in an abstract sense, something more peaceful. There was an argument to be made about games like Puerto Rico, abstracting away the violence inherent in it, and that's a very fair argument. But at least on the surface, these weren't violent games, and they didn't play violent and I really liked that. That really spoke to me.

Patrick Rauland: I think that's really interesting. Thinking about how board games are … Appear to be less violent, because there's so many board games about settling. Like imperialism and colonialism, and that's such a prevalent theme. But I guess once Euros became big, and then it's like Agricola, right? You're all just like farming, then maybe that's … It seems like there's so few video games like that, or at least big video games like that? Maybe there's Farmville, but there aren't many video games that have peaceful themes like all the eurogames.

Gil Hova: A big part of this is just Germany's influence, because after World War II, violent themes and warlike themes were kind of out the window. So they started looking at more peaceful games, and board gaming was always a big thing there. So board games started to get more and more popular, especially in the 70s and 80s. They started really working on these more peaceful themes, because they violent themes don't sell as well there. So that's really where a lot of that stuff comes from.

Gil Hova: They also have, being Europeans, they have a different view of colonialism. To them they took this … The term is terra nullius. They took this terra nullius view of colonialism, where you are on this boat, you go on this brand new land, and there's nobody living there. The trees are all green, and there's birds overhead and the land is all yours. Of course that is not how it happened. That's never how it happened on this planet. Any colonial game is a war game. We seem to be tangenting here, don't we? What do we do about this?

Ferret vs Rabbit Hole

Patrick Rauland: I actually really like that. I was wondering, when this stuff comes up, I love going down the rabbit hole or the ferret hole, shall we say?

Gil Hova: Ferrets go in rabbit holes, for the record.

Patrick Rauland: Oh okay. Because they chase them?

Gil Hova: Yes.

Patrick Rauland: Or eat them.

Gil Hova: Yes.

World War II & Peaceful Board Games

Patrick Rauland: So ferrets go down the rabbit holes, then this is appropriate. I think I've heard that history before about Germany, and after World War II, they started making euro games, and I was just thinking in my brain, how World War II made peaceful board games, and how that's so weird. That's such a weird thing.

Gil Hova: It's really strange how these things link up, don't they? I don't want to say, “You have one or the other.” That's just the world that we're in. We deal with it.

Gil Hova: But yes, it's really fascinating, but here we are in this world and we have these board games that have this inherent contradiction in them. Because at some point you need a … At least if you're going to have an orthogame, a game with a winner, that implies some sort of competition. That implies some sort of conflict. Or at least a contest.

Gil Hova: While there doesn't need to be wild violence, there is some sort of competition and again, if this is an orthogame, there is a winner and a loser. Now not all games are orthogames. Like D&D is not an orthogame. There's no winner in D&D. You play until the campaign ends, or until everybody gets tired or moves away, etc. Or any other role playing game. You generally don't win role playing games. Even role playing games that you win, the idea isn't to win. That incentive's just there to drive player behavior, kind of like a party game.

Gil Hova: So with that, there is always going to be some sort of contest, but the question is making it in a way that you're not punching down. That you're not sort of rubbing it in people's faces.

Why Do you Publish Games?

Patrick Rauland: Let's back our little ferret butts out of the rabbit hole. So you are a publisher and a designer. Why did you decide to make your own publishing company instead of licensing games or something else?

Gil Hova: I had two other games published at the time, when I founded Formal Ferret. I had Prolix and Battle Merchants, and I'm really proud of both of them and I think the publishers overall did a really good job with them, but it turns out I'm really a bit of a control freak, and I want things done my way. I want my games at conventions. I want my games to look a certain way. I want there to be some sort of marketing campaign behind my games. I want there to be some sort of 50-50 representation in terms of gender. That's assuming a gender binary, which there isn't, etc.

Gil Hova: I want to have this sort of thing that I'm in some sort of control over, and you sign all that control away when you sign a game with the publisher. That's just part of the deal. That's just how it works. A lot of designers are fine with that. There's designers that are going work on like 15 games at once. If a publisher doesn't come out with a game, or if they make significant changes to a game, well that's too bad, but they have 14 other games they're also working on.

Gil Hova: If you're the kind of person who works on a bunch of games at once, then pitching to publishers is really not a bad way to go about things. But, I'm not one of those. I work on only a few games at a time. Like one or two games, is about my limit. Then I just try to push those as hard as I can, as far as I can. I get my play test group really good and tired of them, because they're playing it every week. Maybe more frequently. I'm so thankful for my play test group. They're really a bunch of troupers. They've played The Networks so many times. So I'm really grateful for them.

Gil Hova: But they enjoy it, especially the expansion. Once I started bringing out the expansion, they really enjoyed testing that. So I'm very thankful for that. But yes, that means Network Executives, I was bringing that same game week, after week, after week, and I really wasn't working on much else. Right now, I'm working on two different designs right now, and I want to work on a third, and I just don't have the bandwidth.

Patrick Rauland: I totally hear you.

Gil Hova: That's why I started my own publishing company. I wanted that control. So you see, I'm at conventions now because I feel it's important to be at conventions. I'm with Double Exposure Envoy for marketing and promotions, which means I'm at conventions all around the country. I do Essen. I do UK Games Expo. And I try to do things the right way and the best way. I try to take a long view, especially as a publisher. It's hard. And sometimes the money gets really crunched, but overall, I wouldn't want to do it any other way.

Gil Hova: I seriously feel that all three of my self published games, Bad Medicine, The Networks and Wordsy, none of them would have done anywhere near as well as they did, had they come out with a publisher.

Why Go To Conventions?

Patrick Rauland: Sure. I get that. You mentioned you go to a lot of conventions, and I'm always curious why. Because it seems like … I talk to lots of people here, and they all go for different reasons. For some people it's just meeting, like meeting publishers. For other people it's like talking to their customers. For other people it's play testing. I met you at Origins I should just say, and I gave you a dope fist bump. What is the most important reason that you go to conventions?

Gil Hova: I think it's really just to make sure people know I'm there. It's marketing, ultimately. It's making sure people know that I am a publisher. I'm here. I'm present. I'm here for you. You can see me. You can talk to me. You can buy my games. You can play my games. You can try my games and so on. So to me, that's the most important reason. I feel like if you're at conventions, you may not immediately get that bump. There's some people who go to conventions and they get bummed out because they didn't make all their money back, which is common when you start going to conventions as a publisher.

Gil Hova: Your first year, maybe even your first two years, you may do it as a loss and it's tough. That's why a lot of companies go under. You need capitol for this, because you need to say, “Okay. This is stuff that I am sinking in. I'm sinking this money in.” But at some point, hopefully you'll start to turn around and while you don't have to turn a profit, you should at least break even. And for the larger conventions, like Origins and Gen Con, at this point I'm profitable at those conventions.

Gil Hova: So I think another reason for those conventions is revenue. It's a really good source of revenue. It gets people talking about my game. It gets my game in the hands of alpha gamers, who will take it and play it with their gaming group, and that's really important. All of these things are reasons that I feel that it's for.

Gil Hova: Finally, I love conventions. I've always loved going to conventions. Ever since that first convention where I played Puerto Rico. It was just a special place. It was the special happy place where I got to go. Some people go to the beach. I go to conventions. To me, I love it. Even as a publisher, my experience is different now because I'm at the booth. It's not like I'm wandering from table to table looking for an open game.

Gil Hova: Even at the end of the day, when the vendor hall closes, I'm toast. I can't play anything. I'm way, way, way too tired. But even with all that, there's this carney family. Same people on the road, and it's fantastic. These are all people that I really enjoy. It's a great feeling, especially when you go to something like Essen, and you travel like 5,000 miles and you land, and you immediately see friendly faces. It's an amazing feeling.

Do You Have a White Whale of Game Design?

Patrick Rauland: I have a question in my list of questions that I ask most speakers, and it's actually inspired by you. I forgot … It was one of your podcasts. It was … I'll just ask you the question. Do you have a white whale of game design. Something you try to figure out every time, but haven't quite cracked it yet? I think I know your answer here because you've mentioned it on other podcasts. I love hearing other people talk about it, but do you have one?

Gil Hova: Oh yeah. You definitely heard about it. This was my sports GM sim. When I played video games, one of my favorite genres was the GM sim. If you're in North America, you might know games like Out of the Park Baseball or Front Office Football or even the franchise mode of the game like Madden. Those are all GM sims. Especially if they take you year over year, and your players age and you have to draft new players and you trade other players. It is such an incredible compelling narrative.

Gil Hova: I would lose weeks, like literal weeks, to play. I was a freelancer. I worked in film, and when I didn't work in film, I would play Out of the Park Baseball and just spend an entire week just spending 10, 15, 20 years in this little pocket universe. It was extraordinary. So actually, I have not played those games in years. I'm not allowed to. I'm on the wagon. I cannot play those games because, “Goodbye everyone.” I wouldn't want that to happen.

Gil Hova: Not for my company, not for my girlfriend, not for my ferrets. It just wouldn't be good. So I wanted to see if I could capture at least a little bit of that magic in a board game, and it turns out it's really, really hard. There's a few people who have gotten close to it. I know that there's a baseball game … I think it's called Lords of Baseball that GMT was working on and that like a GM sim. Gabe Barrett from the Board Game Design Lab has this excellent design. It was originally pro football and he changed to college football, but again, it's this aging feeling and this growing narrative, and I think he did a wonderful job with it.

Gil Hova: But that game's only three seasons, and you only have a handful of players at a time, because that's the problem. Like a video game, if you're doing even like a baseball team and you have a 25 man roster, you've got all of these variables. Let's say you boil it down to one variable. Like each baseball player has one rating that you go off of. You've got 25 of them, and you've got four players, so now you've got a hundred ratings to juggle. That's too many.

Gil Hova: Okay, let's shrink it down to maybe everybody's got nine. Nine times four is 36, and that's still a lot. So reducing the numbers, you really have to start seriously abstracting it. But I think I have an angle. I think I have a way that I can do it that wouldn't be a GM sim, but it would still be really interesting and would both be a compelling game with interesting decisions, and would hopefully tell a story and hopefully get you a little attached to these players, because that's really I think, one of the holy grails here in moving these GM sims over. So that's my white whale, is a GM sim where multi season, you start caring about the players and so on. It's really hard, but I would love to try it.

Patrick Rauland: That's really cool, man. I struggle so much with games that have a lot of bookkeeping. Where you have to write down stats or track things or even cover up parts of the card where it's like in season one use these stats, and season two use these stats. I imagine it's really, really hard to just juggle all of that information. And probably really hard to balance, right? There's so many variables in that. Even if you do with a system, it'll take forever to balance that.

Gil Hova: I didn't even get up to the balance part. It just wasn't a compelling game. This is also an important game design lesson, is that make it a compelling game. Then work on balance. Don't work on balance first and then try to make it a compelling game. That way is uphill.

“Make it a compelling game. Then work on balance. Don't work on balance first and then try to make it a compelling game.”

What is the Best Money You've Spent?

Patrick Rauland: No, love it. One of the things I like to ask, just for your information, I'm cheap when it comes to board game design. I don't want to spend a bazillion dollars on it, but there's always, always, always tools that are worth the money. Do you have a resource, either software, or a bug, or any resource that is absolutely worth the money for a brand new indie game designer?

Gil Hova: For a brand new indie game designer, there's a lot of things you can do to save money. If you want to make cards, learn how to use Nandeck. I have a few friends who use Nandeck and they swear by it. That's free card creation software and it's a little more powerful than your average … There's some programs that make magic cards, and those could be okay if you're going for that style of game. But if you want … I just want like a number and a picture and a little bit of like a title, but I don't want it to look like a magic card, then you may want to use something like Nandeck.

Gil Hova: Then you can use programs like Inkscape and GIMP and things like that. Now that's all if you're an aspiring game designer. I think once you get to publishing and you start working with a graphic designer, at some point you have to level up and start going to the Adobe Suite. That's expensive, but it's so much easier when everybody's using the same platform.

Gil Hova: For me, making cards, I've got my own little thing. A lot of people who are in the Adobe Suite, they use InDesign to make their cards. You put all your card data in an Excel spreadsheet and then point InDesign to it, and you just create a card template and InDesign fills out all the data for you in a data merge. That's a really good and quick way to do that. That's like an alternative to nanDeck, although that's how … A lot of times that's how the pros make cards.

Gil Hova: When you play a game, a lot of times the cards will have been made by a data merge. For me, I actually use the database program. I use FileMaker Pro, and I know of a couple of other designers who use FileMaker Pro as well. The nice thing about it, the idea with either nanDECK or using a relationable database like FileMaker Pro, you don't want to have to update … You update an image, you don't want to have to update on every single different card. So if you have a database, you have a table that's just your cards. Then you have the table that's just your images. Then if you want to put the same image on like 20 different cards, you just put the idea of that image in each of those cards. If you ever have to change the image, you just change the image in the one place in the image table, and that update will cascade through everywhere else.

Gil Hova: Then nanDECK is a similar way. It's going to point to a link to a file, so you just update the file and the image just updates. That's the kind of solution you want when you're working on cards. That said, if you're just starting a game design and you feel comfortable using hand written index cards, use hand written index cards. Anything that will get your game to the table quickly and remove those barriers, and just see how it plays. Because I guarantee you, especially if you're a first time designer, it's not going to play the way it did in your head, and you want to sort of sniff down the way the game wants to be, and be like, “Oh well, this game's totally boring,” except this one pocket is actually kind of interesting, so you want to explore that one.

Gil Hova: Those are all like the little tools that I think are useful. A lot of them are free. I think if you want to spend money as a game designer, save up money. Save up vacation time and try to make it to a convention. This is easier for some people than others. Like if you're working three jobs, or if you have home responsibilities. If you have health issues. This is easier said than done. But if you have the privilege, and you have the vacation time, you have the money, go to a convention, because you'll meet a ton of people. You'll get a ton of play tests, and you'll be in the ocean. You'll be in the atmosphere. You're going to feed off that energy and it really, really helps.

Gil Hova: Once you go to a convention, if you come back and people start recognizing you, then you've made some steps. Because at that point, you start making it in with people and a lot of this business, a lot of getting ahead in this business is really networking, like any other business.

What Convention Would You Recommend?

Patrick Rauland: Let's say I'm based in the US, and I can afford to go to one non-local convention. Which one would you recommend?

Gil Hova: It depends on your demeanor, your personality, and your goals. If your goal, if you have a mostly finished game and you just want to show it to as many people as possible, and the game is very much a hobby strategy game, then I think Gen Con is where you want to go. In that case what you want to do is … It's too late now. We're recording this the week before Gen Con. But in the months before Gen Con, you want to create events for it and you just say, “I'm running these events for this game,” and then you just try to get as many people to your table as you can.

Gil Hova: Gen Con is pretty cool with that, running events for the unpublished game. If you make a bunch of events in a row, then they'll just schedule you for the same table and you won't have to move. Bring a friend if you can so that you can switch off, so you don't have to do it all yourself and just build awareness. Every time somebody plays, take feedback. Be as nice as possible, especially if they're being critical of your game. Say, “Thank you. That's good feedback and I'll look into it.” A lot of times it will be good feedback. If the game is closer to done and people are asking the correct question that you know when the game is done which is, “Where can I get this? How can I get this?” Make sure that you have something that they can sign up to your email list with. Your mailing list and start building a mailing list.

Gil Hova: Because, whether you go Kickstarter or whether you pitch to a publisher, you want to raise awareness and let people know and build your following. Have people follow you on Twitter, on Face Book, on Instagram. On any sort of social media and just start building that presence. That's just so important. So yeah, Gen Con is the convention for that.

Gil Hova: If you have a game that's a little newer, or if you're hesitant to go into a zoo like Gen Con, because Gen Con's about 60,000 people a day. It is an enormous convention. So if you want something smaller, I'd recommend Origins. I want to say it's a smaller scale Gen Con, I guess is the best way to put it. It's about a quarter of the size. It's only about 15,000 people a day, so it's a little more manageable, especially for people who get overwhelmed in big settings.

Gil Hova: Now if your game is really fresh, and really new, then you probably want to go to a convention like Protospiel. Protospiel is a much more laid back, small convention. It's just designers. It's only going to be about 30 to 50 designers, and it's very quid pro quo. You sit down, you play a game. You play someone else's game, and then they'll play your game, then you'll play their game, and so on and so forth. You just exchange play tests.

Gil Hova: Here's a little tip. The more you play test other people's games, the better you will be at game design. When you see problems in other people's games and you start trying to work on how you would fix them in your game, if it were your game, that levels you up and that makes you a better game designer. Don't pass up opportunities to play test other people's games. It will improve you. So Protospiel's a really good one.

Gil Hova: If you have a game that is … Let's say you have a game that's close to done, but you want to test it, and you want to meet a lot of industry people, Unpub is a phenomenal convention for that. You'll get a lot of people sitting down and playing your game, but unlike Protospiel, they're going to be game fans. They're not necessarily going to be designers. And if you have a good table, and an attractive looking game, you should just get wave after wave after wave of people, sitting down to try your game. That really helps with Unpub.

Gil Hova: There's other game designing conventions out there. METATOPIA, which is near me. I'm in Jersey City and METATOPIA is in Morristown, New Jersey. That's a very, very good game designer convention. I'm sure there's a ton of others that I'm missing.

Gil Hova: If your game is one that's more of a casual game, or you think will appeal to video game fans, then get yourself to PAX Unplugged or PAX East. They're not going to be so into heavier strategy games on the whole. Obviously, people who like heavy strategy games do go to PAX, they're just not dominant. PAX tends to be more commonly frequented by people into video games, people into lighter games, people who don't want to wait more than 30 seconds to learn how to play your game. So if you have a game like that … And that's not a lack of intelligence or short attention span, that's just culture.

Gil Hova: Video gamers are just cultured for that. They have a certain aesthetic and that's what they like. My point being, all of these conventions have their own identity. They have their own audience. If you have two conventions with the same audience, that's usually bad news, because they tend to pull from each other.

Gil Hova: I didn't even mention Geekway to the West, or Dice Tower Con or BBGCON, which are just great conventions to go to if you're also a game fan, and you just want to play a bunch of really good games. Those are also great play test opportunities as well. You'll meet a bunch of people in the industry as well. They're very laid back. They're even smaller than Origins. They're about 3,000 to 5,000 people, so not big at all but really, really good to attend.

Gil Hova: So it really depends on what your tolerance for crowds is, how focused you are, how driven you are, how late you are in the process. On one end is Protospiel, when you're really new to the process. On the other end is Gen Con when you really have to bring out the big guns.

Patrick Rauland: That is a very thorough answer. I think I got nine different conventions that people now have to think about, which is a good problem to have, right?

Gil Hova: Obviously, this all assumes you're in the US, because there's conventions all over the world and I'm most familiar with the ones in the US. I only go to two non US conventions, “only” two non US conventions, which is two more than a lot of people, so I'm very lucky.

What Does Success Look Like?

Patrick Rauland: We're running out of time, so I want to ask you two more questions here. Or one more question and the game that you knew nothing about. What does success look like to you Gil? It seems like you're pretty successful already.

Gil Hova: I hate to say it. I'm going to knock on wood here to keep myself from jinxing myself. But success looks a lot like what I'm doing now. I don't want to say success is when I made X money with game design or hired XX employees, because ultimately it all comes down to, “I want to make my own games and release them to the world and have people enjoy them.” That's success to me. I'm so, so fortunate and I've put in so much work to have it happen. Fingers crossed that I can keep on doing this. Like every successful Kickstarter, especially one that's succeeds as wildly as something like The Networks, I have huge feeling of relief, because I say, “Phew, I get to do this another year.”

Gil Hova: That's really how it is. When you're in business, it's not like, “Okay, I've made it. I'm secure.” It's always like, “Well, I'm good for now.” There's always a but, there's always something. You always have to have an eye over your shoulder. Not necessarily for competition, but just for like these mistakes or slipups, or changes in the market. All sorts of things that can happen unexpectedly. I just want things to continue at the trajectory that they are now. I have a new game I'm working on called High Rise, that I'm putting on Kickstarter in February and there's a lot of interest in it. I'm very, very grateful for that. I'm very excited to get this thing to Kickstarter, because I think it's going to be really big.

Patrick Rauland: That sounds amazing. It sounds like you have a fulfilling process. You're working on a couple of games at a time. That works for you. It's enough to sustain you financially. You can go to all the cons you want, and you can release one or two new games a year. That's pretty awesome.

Gil Hova: I'm at a pace of two products a year. Starting next year, it'll be two products a year.

Overrated Underrated Game

Patrick Rauland: That's amazing. That's really cool. So Gil, you don't know this, but I like to end every show with a little game called Overrated or Underrated, and basically I'm going to force you to take a position of things. I might say, “Sunny weather. Overrated or underrated,” and you have to pick one of the two and explain why in like two sentences. Got it?

Gil Hova: Oh, I hate these kinds of games but I'll play along.

Patrick Rauland: Catch-up mechanics in board games, are they overrated or underrated?

Gil Hova: Pass. Next. It's both. It depends. A poorly implemented catch-up mechanism is overrated. A game that needs a catch-up mechanism is underrated. I mean are hammers overrated? Come on. Are petunias overrated? Come on.

Patrick Rauland: How about fancy coffee from like Starbucks? Overrated or underrated?

Gil Hova: I don't drink coffee, so I'm happy saying that's overrated. That was easy.

Patrick Rauland: Do you drink any caffeine?

Gil Hova: Not really. I used to drink a lot of cola, like Coke and Pepsi. Then my body started rejecting it, so yeah, I don't drink that much caffeine now. Which, it's fine with me. I set my own hours. I start work late and I go to bed late. That's really what it comes down to.

Patrick Rauland: Abstract games. Are they overrated or underrated?

Gil Hova: I'm not hugely into them. I'm curious to see what next move does with them. My friend Emerson Matsuuchi designs a lot of games for Next Move, and he came out with Reef, which I was really interested in, and then when I say him he was like, “You play tested an early version,” and I'm like, “I did?” He was insisting that I was in this play test that I have zero memory of. So we'll see. Abstract games, I think abstract games that are approachable and that you feel like you have a handle on, over your first couple of games like Onitama or Reef, I think those are underrated. A lifetime game like chess I'm not so into, because after a certain amount of time it becomes work. In your game, that fall under overrated, although I would never say chess is overrated. You are just forcing me to do this with your harsh, harsh rubric.

Patrick Rauland: I do like forcing people into taking a position. Last one, I think you got this one. Fist bumps. Overrated or underrated?

Gil Hova: They're totally underrated. You need your fist bumps. I got sick at three different conventions a couple years ago, and that's why I started fist bumping. It was just terrible. Being in the hotel and forcing the booth staff to go on without me, while I'm coughing and hacking, it's terrible. And once I started fist bumping, I didn't get sick as often, and when I did, it wasn't for nearly as long. So I've actually stopped handshaking in general. Like I fist bump my family. I got it from Eric Martin of BoardGameGeek. He started fist bumping before me, and I found something very funny. Eric came up to me and he told me that somebody asked him if he got the fist bump idea from me, which I think was hilarious, because Eric was fist bumping way before I was.

Wrap Up

Patrick Rauland: Love it. Gil, thanks for being on the show. Where can people find you online?

Gil Hova: You can find me on Twitter @gilhova. You can find me on Instagram @gilhova, although I'm not as active on Instagram as I should be. I'm on Facebook as Formal Ferret Games. You can also go to formalferretgames.com and you can go to gil.hova.net for a very infrequently updated blog.

Patrick Rauland: I notice your about page, I think was from like 2005.

Gil Hova: Yeah. It was. It's been a long time.

Patrick Rauland: Love it. Thank you again. Dear listeners, if you liked this podcast, please leave us a review on iTunes or wherever you listen to podcasts. If you leave a review, Gil said that he talked to his TV executive friends and he has a lot of them, and they'd film a reality show in your backyard. So that's something you can …

Gil Hova: Contact … I have at least one.

Patrick Rauland: Oh. There we go. All right. So you can visit the site indieboardgamedesigners.com. You can follow me on Twitter. I'm @BFTrick. That's B as in board game, F as in fun and trick as in trick taking games. Until next time, happy designing. See you around. Bye bye.