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BoardGameGeek News

To submit news, a designer diary, outrageous rumors, or other material, please contact BGG News editor W. Eric Martin via email – wericmartin AT gmail.com

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Links: Numbers from Gen Con 2012, Gamey Cakes & I Talk a *Lot* about Innovation

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• Geof Gambill has posted the latest episode of his podcast The Long View, and since I'm the guest being interviewed, I thought it would behoove me to post about it here since it's not every day you can listen to me talk for more than two hours on the wondrous game of Innovation as well as "game fatigue, trends in the hobby, and 'game snobbery'". Well, now that the podcast is available, you can indeed listen to me blab for more than two hours about such things. I'm sure you've been waiting for just this day.

• Gen Con 2012 took place August 16-19 in Indianapolis, Indiana, and the convention boasted "a turnstile attendance record of 134,775, including more than 41,000 unique attendees", according to a press release from Gen Con LLC media contact Stacia Kirby. More details from the press release:

Quote:
Unique 2012 show attendance rose more than 12% over last year’s prior attendance record, propelled by significant increases to pre-show badge sales and on-site growth in Sunday’s Family Fun Day attendance. Overall, the show has grown in attendance approximately 30% since Gen Con Indy 2010. Turnstile growth for the weekend also was up 9% from last year’s prior record of 119,000 plus weekend attendees. Gen Con’s pre-show Trade Day also expanded, including 232 retailers attending the event, in addition to the growing numbers of educators and librarians that participated in the tracked pre-show program.

Mental Floss, that paragon of bathroom reading material, has highlighted eleven game-inspired cakes, many of which look thoroughly unappetizing but some of which look cool as house decorations – at least for a few days.


• Gary Ray at Black Diamond Games looks at Kickstarter and asks whether the site is "expanding the pie" or shifting sales around in a zero sum game. His conclusion? Inconclusive.

• Here's something of an oddball item: Beth Heile, interviewer of designers and publishers at Spiel 2011, and John Knoerzer have recorded a video reviewing Agent P's World Showcase Adventure, an interactive game located at Epcot Center in Walt Disney World.

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Sun Aug 26, 2012 6:30 am
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Links: Active vs. Passive Media, Games in Mainstream Media & Game Night with Catchphrase

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• Board Game Muse has a short interview with designer Régis Bonnessée about his game Seasons – debuting at Gen Con 2012 – and his other interests.

• Daniel Tack at Forbes.com writes about Gary Games' SolForge, showing multiple (preliminary) screenshots and explaining the game in a bit more detail. I had no idea that Forbes had someone writing about online gaming, collectible card games, and tabletop games...

• Erik Wecks at Wired's Geekdad marvels at Target's recent gaming coups – exclusivity for Star Trek: Catan, and a game cross-promotion deal with Geek & Sundry – and urges local game stores to up their game to survive and even profit from such happenings.

• Adam August at Kicktraq provides a few stats on board and card game Kickstarter projects, focusing on the growth of both backers and pledges in 2012 when compared to 2011:



• On his GamerChris blog, Chris Norwood tries to pin down the difference between board games and other media, focusing on whether they're active or passive media and how that relates to both the user experience and the requirements for critical analysis of the works. A long excerpt:

Quote:
In more or less all other media (even including many videogames, considering their mostly linear format) the underlying idea is that one "author" creates something that is then received/consumed by other individuals. The author has a great deal of control over how the medium is received, the message that is delivered, and ultimately, the experience that is created. And in most cases, the "consumer" interacts with the medium more or less alone (even if they sort of "share" their experience with others by sitting near them or talking about it after the fact). And perhaps the biggest point of contrast to me is that the consumer of passive media has no real option to make a choice about the content of the media or to experience anything different than from what the author has pre-loaded into the work.

The nature of criticism for these "passive" types of media, therefore, tends to focus mostly on the substance of the message delivered by the work, rather than on the "mechanics" of the delivery method. Now certainly, story structure, diction, tone, and other structural elements of how the work was delivered do come into play. But by and large, the bulk of literary and film criticism is much more about discussing the work's message, its relevance to the society in which it was made, its relation to previous works, what experience in the author's life led to it, and other such socio-political issues.

But boardgames are very different. With rare exception, games are meant to be shared, interactive experiences. And one hallmark of modern boardgames is player agency, where the participants are given choices that have a real impact on the outcome of the game. So while a game designer may have a general intent for how a game should develop, the specifics of any one particular play are greatly dependent on the choices of the players involved in it.

Therefore, the most important element of boardgame criticism must be to focus on the mechanical aspects of the game. While the core element of a work in pretty much any other medium is the message that is being conveyed, the core of a boardgame is the system of mechanics constructed by the designer. And even if there is a theme, tone, or message that the designer wants to invoke or portray in some manner, it still comes down to how well the mechanics of the game actually get that message across.

Lots to unpack in this excerpt and the post as a whole, and I disagree with almost all of it, but I'm busting tail to prep for Gen Con, so I'll leave this as a "No, Chris! Bad Chris! No cookie!" and let you all have at it for now.

• From the YouTube description of this Olde Payphone video: "Some people take Catchphrase way too seriously." NSFW. No, really.


(HT: The Dish)
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Wed Aug 15, 2012 6:30 pm
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Links: Kickstarter Boots – Then Brings Back – Bulk Sales & More

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• In a late July 2012 BGGN post about a Kickstarter project for Killer Bunnies and the Quest for the Magic Carrot – Deluxe Edition, I noted that "Kickstarter apparently no longer allows for project reward levels aimed at retailers" as project creator/publisher Playroom Entertainment added this note to its project on July 26, 2012:

Quote:
Playroom loves our retailers and we know that the success of Killer Bunnies wouldn't be possible without them. Unfortunately, we were forced to remove the Retailer Level by Kickstarter (at approx. 9am on 7/26) because it violates their newly implemented rule of not allowing "discounted bulk pricing" at a wholesale level for retailers. We are very upset about this, but we have to play by the rules. If you are upset too, please take it up directly with Kickstarter.

Milton Griepp at ICv2 posted a follow-up item with Playroom's Dan Rowen as to how the company became aware of the problem. On the retail side of things, someone at Imperial Outpost Games in Glendale, Arizona recounts how digital PDFs for role-playing games had previously shut out retailers and how he had discovered the pluses of Kickstarter, which took a different approach. Now, though:

Quote:
Now Kickstarter comes along and tells the publisher that it can no longer offer retailer levels or "bulk discounts". *insert sound of a car hitting a wall at 100 mph*. Wut? All of a sudden now, I'm being cut out of the loop AGAIN. Now, with the pdf thing, there were some huge logistical hurdles there keeping retailers out of the loop, it wasn't JUST a "money thing".

This TOTALLY is just a "money thing".

On August 2, 2012, Yancey Strickler at Kickstarter clarified that it didn't really mean no bulk discounts – just no large bulk discounts:

Quote:
As of today, we're defining "bulk quantity" as a reward that offers more than ten of a single item. We feel that a limit of ten will prevent bulk commercial transactions while still allowing independent stores (the most frequent backers of these rewards) to back projects and share them with their communities. Projects are welcome to offer rewards intended for stores so long as they are in quantities of ten or less.

Backing a project has always been about joining a community just as much as it is getting stuff. That's one of Kickstarter's defining traits, and we want that to always be true. We're incredibly proud of the ways that Kickstarter has helped creators bring their work to life and get it out into the world. Watching independent stores use Kickstarter to promote the work of independent creators has been amazing, and we hope it continues.

So, crisis averted? Well, not for this commenter from retail shop Black Diamond Games, who has found that retail backing levels haven't paid off:

Quote:
Although I like supporting the indie guys, it doesn't make sense for me. Despite some huge Kickstarter support numbers, the average game store customer really doesn't care about these projects. These things appear to appeal to the gamer elite, the alphas, the lapsed gamer, and those whose tastes have transcended the mainstream. I sell mainstream, because that's how the rent gets paid, despite yearning for the elite....

The problem with the established publishers is there is no lag time between supporters receiving their goods and distributors. So why buy in at 12 copies on Kickstarter when the distributors will have it three days later? That's exactly what happened with the last product I supported. I would have ordered 2-3 copies from the distributors, but ordered far more than that because I wanted in.

So Kickstarters are not designed for retailers. There is no implied value proposition aimed at us, no promises, only a bone thrown in the corner allowing us to sit at the table. We are appeased by receiving the opportunity to participate, and I do appreciate that, but that doesn't mean we should be involved. There are better uses of our resources than gnawing on that old bone.

• And in other crowdfunding news, Indiegogo is opening a German division and looking to hire. Any gamers interested? (HT: kreikkaturkulainen)

• Patricia Vollmer at Wired highlights upcoming crossover games from Hasbro that use a thematic whitewash from Zynga's online games Farmville, Cityville and Words With Friends.

• Brian Maggio at Global Toy News asks whether we're witnessing the death of the "price point", that being a series of specific price tiers such as $15, $20, $25, etc. From the article:

Quote:
Regardless of the cost/value relationship or the build that had gone into a product, all sales presentations had to align with predetermined price points. "Is that a $14.99 or a $19.99 product?" was a common question that a buyer would pose to the salesperson. (To which I was occasionally tempted to reply, "Well, this one is actually a $17.64 product because of the extra little doo-dad here...") Manufacturers then had to dumb down the product to hit a key wholesale, or build it up somehow to justify the next higher price point.

Then, about a year ago, I heard several manufacturers take the bold stance: We are going to set the wholesale at a level that actually allows for a profit, and let the retailer figure out how to price it.

More of a mainstream issue than something that affects hobby gamers, I suppose, but I think this move could be viewed as akin to how the New York Stock Exchange switched from fractional to decimal stock prices in 2000/2001. The goal of both is to present the potential buyer with a more accurate price while allowing the seller to account for an item's true cost.
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Sun Aug 5, 2012 6:30 pm
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Links: Making Professional Prototypes, Playing Small World for Days & Getting Good Grammar in Game Rules

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• Eric Franklin, Asmodee demo monkey, writes about how he prepares to demo games at Gen Con. (I'll mention in passing that I've spent the past couple of days pushing publishers for updates to the Gen Con 2012 Preview, and I'm still adding information as I receive it. If you're a designer or publisher with things to add, please write me at wericmartin AT gmail.com.)

• On Global Toy News, Richard Gottlieb asks "3D Printing – are we near the tipping point?" Not a terribly informative post and it features annoying sidebar ads, but this is still something for publishers, designers and gamers to think about for the future. Selling blueprints and rules for at-home game creation is a definite possibility just a few years from now. For now, though, designers and gamers will have to be content picking up game parts from places like SpielMaterial or the newly launched in July 2012 nestorbits.

• Until easy home-based parts production comes about, designers will have to contend with making their own prototypes. In an article on Opinionated Gamers that uses his upcoming Suburbia for examples, designer/publisher Ted Alspach shows off his methods and (many) tools for "Professional-looking Prototype Creation".

• Trent from The Board Game Family talks up the merits of renting games and teases those of us who don't have a decent game store nearby that offers this service – which would be most of us, I imagine.

• In June 2012, as noted on BGGN, two fans of Strat-O-Matic Baseball set a new Guinness World Record for longest marathon playing of a board game. Now Scotland gamers Ben Miller, Sean McFarlane, Duncan Conner and Christian Olsson are trying to break that record, and their game of choice is Small World. They started on August 1, 2012, and the site of the record-breaking attempt – the Bus Stop Toy Shop – is posting updates on its Facebook page. The gaming session is being broadcast live on Ustream, and it's also serving as a fund-raiser for Children's Hospice Association Scotland.

• Okay, this post is somewhat off-topic as it relates to games – and yet it's not as I find errors in nearly every rulebook I read, not to mention rules that are incomplete or unclear. Why is it important to have well-written rulebooks? Kyle Wiens makes the case in an article titled "I Won't Hire People Who Use Poor Grammar. Here's Why." in Harvard Business Review:

Quote:
[G]rammar is relevant for all companies. Yes, language is constantly changing, but that doesn't make grammar unimportant. Good grammar is credibility, especially on the internet. In blog posts, on Facebook statuses, in e-mails, and on company websites, your words are all you have. They are a projection of you in your physical absence. And, for better or worse, people judge you if you can't tell the difference between their, there, and they're...

If it takes someone more than 20 years to notice how to properly use "it's," then that's not a learning curve I'm comfortable with...

Grammar signifies more than just a person's ability to remember high school English. I've found that people who make fewer mistakes on a grammar test also make fewer mistakes when they are doing something completely unrelated to writing — like stocking shelves or labeling parts.

When I read a sloppy rulebook, I immediately wonder how much care and attention was put into the game itself. (By chance, I just ran across my 2009 review of Bonnie and Clyde in which I make this exact point.) I'm less trusting of the publisher and any development work done on the game because if you can't get the small details of writing correct – details for which standards exist, details that can be tested by getting others to play your game blindly – what does that suggest about your ability to solve the larger issues of clarity in game play?

(For those who find such issues too mind-numbing to care about, I'll throw you a bone by pointing out that the URL for the article above is shortened to "i_wont_hire_people_who_use_poo".)
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Thu Aug 2, 2012 1:08 pm
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Links: Calculating a Game's Volume, Talking Game Design at Tedx & Importing Illegal Eggs

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• Geek & Sundry, producer of Wil Wheaton's TableTop series of game presentation videos, has announced a partnership with U.S. retailer Target in which starting on August 1, 2012 games featured on TableTop will be available in Target stores and will bear an "As Seen on Geek & Sundry" sticker. Certain games will also be tagged "Featured Game of the Month", and the partnership runs through October 2012. From the press release:

Quote:
We love local game shops, but we know that not everyone is fortunate enough to live in a city that has one. That's why this partnership with Target is so exciting – for those of you who aren't able to find your favorite TableTop games locally, you can now find TableTop-approved titles on Target store shelves near you!

It's hard to believe that our channel, which launched just under four months ago, now has the opportunity to partner with one of the biggest retailers in the United States. The fact that we can walk into a Target store and see an "As Seen on Geek & Sundry" sticker on games is absolutely surreal, and the truth is we couldn't do it without your continued support. It's your support that enables us to make free, awesome content. Every view we get, every RT, every Facebook post, shows potential partners (like Target) that web content is a force to be reckoned with, and it's here to stay.

You know what would be surreal? A birdcage wearing a wig, that's what. I'm just sayin'... [HT: Joel Eddy]

• BGG user Daniel Danzer presents a nicely illustrated review of the 2012 Zoch Verlag release Riff Raff, complete with action shots of the ship rocking back and forth after having dubious cargo brought on board.

• Stuart at RoseCityLive posted an overview of the Game Theory event held at the Science Museum of Minnesota in June 2012, an event that featured games of all types. Local publishers Atlas Games and Fantasy Flight Games participated in the event. From the article:

Quote:
There is something to be said about walking into an after hours event at a science museum with the clicks and chirps of eight-bit music being played over the museums speaker system... Within a few beeps I was able to visualize Zelda's Link running around Hyrule battling creatures on his way to saving the Princess.

Sam Liberty and Kevin Spak – co-designers of the Forsooth! RPG, Cosmic Pizza (due out in 2013 from Cambridge Games Factory), and Gladiators (which won a 2010 design contest sponsored by Rio Grande Games) – are interviewed on the Bellwether Games blog about their philosophy of game design and their need to work as a team. (They even answer questions together!) An excerpt:

Quote:
As for why we like to design games, it's an art, you know? Design is really fascinating in that in some ways it's a very creative process, and in others it's completely practical and technical. Juggling that stuff is fun. It's like you're writing a story and solving a puzzle at once.

• And for more from Liberty and Spak, here's a talk they gave at TedxBoston in June 2012 on the topic of "fun" as it relates to game design:


• If you're from the U.S. and headed to Essen, Germany in October for Spiel, do not even think about bringing home Kinder Überraschung eier. You have been warned. (HT: Dale Yu)

• On his Pawnstar blog, Anthony Simons adds a third dimension to depth and breadth so that he can discuss a game's volume:

Quote:
The best games (at least from my perspective) also hold the player's interest and/or involvement for the full length of the game. As "length" already has definition in game terms (as in how long it is played for), I tend to call this "span", as in the game's span fails to reach the duration, or alternatively extends to the game's length.

Span does not necessarily need to be contiguous either; if every player is placed in the position of having to await his turn before considering his options, then that's a gap in the span, and if there's a tendency towards analysis paralysis, there is probably very little span in the entire game (whatever the length).

One more dimension, and perhaps we can start receiving game reviews from Mrs Whatsit, Mrs Who, and Mrs Which...
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Tue Jul 31, 2012 6:30 pm
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Links: How Trek Entered Catan, How to Promote Your Own Games, & How Not to Open a Game Store

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• On the Catan blog, Gero Zahn details how his homemade "Space Settlers" variant of The Settlers of Catan unexpectedly became the prototype for Star Trek: Catan. An excerpt:

Quote:
After extensive deliberation [designer] Klaus [Teuber], Sebastian [Rapp from Kosmos Verlag], and I as well as the rest of the Catan team agreed that The Settlers of Catan is extremely well suited for a Star Trek license edition. To put it in a nutshell: Catan epitomizes constructiveness and cooperation, where often the journey is the destination and, in many cases, you can only win if you make amicable arrangements with the opponents. And that's extremely compatible with what Star Trek also stands for.

We thought that to allow both Catan fans and Star Trek fans relatively intuitive access to each other's universes, a complex, stand-alone Catan scenario in the fashion of The Starfarers of Catan would be rather unsuitable. The starting point, therefore, was my Settlers of Catan adaptation "Space Settlers," whose unchanged game mechanics also worked well visually. We "only" had to transfer it from its generic, public-domain context I intentionally had given it back then, to the Star Trek universe.

• In their "From Inspiration to Publication" blog, designers Jay Cormier and Sen-Foong Lim offer advice to new (and existing) designers on how to promote your games. I was name checked in the post, so I feel obligated to read the piece and pass it on. Self-promotion achieved!

• U.S. publisher Hasbro has released its financial results for Q2 2012, and in the category of relevance for this site, "Net revenues in the Games category declined 8% to $213.8 million with Magic: The Gathering, Duel Masters and Battleship brands continuing to grow."

• On Gamehead, Michael Bahr – who describes himself as "managing partner of Desert Sky Games LLC, which will open its flagship store [in Q3 2012] in Gilbert, Arizona" and someone who has "had an ownership stake in five game stores since 1997, some successful, others disastrous" – catalogs five mistakes that people make when opening game stores. An excerpt:

Quote:
A good back-of-the-envelope rule is that you need in liquid cash at least fifty times the square footage figure of the location you plan to rent. Desert Sky Games is opening in a 2500-square-foot suite in a three-year-old building, and raised $110,000 in capital.

Where does all this money go? About a quarter to a third to initial inventory, some to provide a few months' operating expenses, and the rest to development of the store – and that is where most owners miss the boat. Most owners allocate adequate cash to trading card game inventory, and the fast turn rate of those products helps the store's bottom line look good in the early going. Often this means they won't see how they undercapitalized elsewhere until it's too late.

And then there's this pearl of wisdom: "Many stores rent somewhere cheap so they can use a 'light box' marquee sign at a cost of around $1000. However, no location worth opening a game store in will allow light boxes." Ah, yes, I remember the good ol' days at Iron Vic Comics in Poughkeepsie, New York, with the owner doing everything possible not to spend a dime on anything he could get away with, the light box shining down on the flighty Vassar College students, the air conditioner doing little more than pushing hot air around during the summer, the carpet threadbare and developing long wounds from all who trudged in all winter with gravel and sand on their feet. Cheapness abounded in all ways...

• Online gaming site Happy Meeple has added a previously unpublished Reiner Knizia game to its offerings: Keltis Ór. What do you do in the game? Well, you need to unlock the game by first playing other games and earning resources, which you can then cash in for gold to pay the cost of the game – but I think the Knizia/Keltis names and a look at the screenshot below will answer most of your questions.

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Links: Interviews with Richard Launius, Patrick Nickell and Michael Coe, Randomness Explained & Christopher Nolan: Game Designer?

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• German publisher H@ll Games has signed an exclusive distribution agreement with Pegasus Spiele, with Pegasus having worldwide distribution rights outside of North America. This agreement applies to H@ll Games' Luna as well as the forthcoming Il Vecchio from Rüdiger Dorn, which is due to debut at Spiel 2012 in October. (H@ll Games' Ralph Bruhn is also serving as developer for Stefan Feld's Rialto, coming in late 2012 or early 2013 from Pegasus Spiele.)

• In his BGG blog Straight Talk on Strategy Gaming, Nate Straight covers – well, let's put this in his own words: "I intend to discuss what randomness is, why it matters and occurs in gaming, how we can interpret and analyze randomness, and when it is or is not an appropriate game mechanism for a game design." If you have a few hours to kill before heading home from work, check out his article, "As Luck Would Have It--On Randomness, Uncertainty, and Chance".

• Here's something I missed in early July 2012: Designer Richard Launius being interviewed by Dice Hate Me's Chris Kirkman about Ace Detective, a storytelling card game with noirish overtones that's due out in December 2012 from 8th Summit thanks to a successful Kickstarter campaign.

• Can a movie be a game that the audience participates in unknowingly? James Verini makes the case in a post on The New Yorker's "Culture Desk" titled "Christopher Nolan's Games". An excerpt:

Quote:
Nolan's entertainments, the best ones, anyway, are games. I don't mean that they resemble puzzles or tricks (though they do that, too), I mean that they are most satisfying when understood as games, not as novelistic narratives. They are contests with rules and phases, gambits and defenses, many losers and the occasional victor, usually a Pyrrhus type.

Take Inception. Many thrilled to this story about corporate spies who invade dreams, but smart critics tended to find it, like Slate's Dana Stevens, "mind-blowing but not heart-moving". On the whole, men like it more than women. I was confused by this until one female friend cut me off as I tried to explain my adoration for Inception, with, "Ugh, see, you have to explain it. It was all exposition." And she's right – the movie suffers from male-answer syndrome. When Inception isn't explaining the rules of inception, the trick of implanting ideas in minds that's at the center of its plot, it's explaining the rules of Inception.

• On the blog Go Forth and Game, Tom Gurganus interviews Patrick Nickell and Michael Coe from Crash Games about game balance, The Lost Dutchman (recently successfully funded on Kickstarter), and the forthcoming designs Pay Dirt from Tory Niemann and Lords, Ladies & Lizards: The Adventure Game from Michael Coe. That's certainly an intriguing title, if nothing else.

• "Wolfie" at the blog I Slay the Dragons wonders whether we ask too much of the games we play:

Quote:
A common complaint about many board games (especially games that shoot up on the popularity list right around launch time) is that they don't hold up to many plays before they get boring and repetitive...

Think about this: when you buy a new book, or a new movie, you excitedly read through it (or watch it). And then? It goes on your shelf. Probably for a few months at least, but maybe even years. Why do you keep it? Well, maybe you want to read it again someday. Maybe you want to have it available to lend it to friends and family. If it's a movie, it might come out when you have a group of friends over. But however often it is consumed, we never read our books or watch our movies ten times in one week and then complain about how it's the same experience every time.
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Links: Architecture and Games, Tasty Minstrel Goes Exclusive & How Games Are Made and Which Ones Sell

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• Designer Jeffrey Allers writes about the blending of architecture and game design is his "Postcards from Berlin" series on Opinionated Gamers. Apparently Technical University in Berlin, Germany was looking for a game designer to lecture first-year architectural students, and Allers – being a former architect and current game designer who lives in Berlin – was the perfect candidate for that role. An excerpt:

Quote:
It is important for a designer to look at "case studies". To be a successful architect, one needs to study the built environments of the past and present. For a game designer, it means that one needs to play a lot of games. What has already been done? How were earlier designs adapted or improved upon? What is possible, regardless of what has been done before? It is important to look at a new game design within its rich historical context.

An architect should also study another kind of context: the location of a new project, whether it be in an urban or rural setting. Daniel Liebeskind's Jewish Museum in Berlin, for example, draws from the dual historical contexts of the city of Berlin and its Jewish history. Hanns-Peter Herz, chairman of the Society for a Jewish Museum, praised Liebeskind's design, "The intersecting lines of history, which coexist but nevertheless do not always run parallel, and the intersections between the non-Jewish and Jewish sides convey a complete picture of history."

For the game designer, the theme can also be more than a setting intended to make the game more appealing. It can be a context that leads to specific design strategies. In the case of the game, Heartland, this meant researching the different kinds of crops and farming techniques. Although the game is relatively abstracted, there are several instances where that thematic context informed the design, as with a "crop rotation rule", for example.

• What sells on a regular basis in brick & mortar game stores? Black Diamond Games in Concord, California shares its board game sales data for 2005 through 2012. Of note from the post: "You can see the strength of Blokus as it sits at the top of the chart and then crater as it hits the mass market under Mattel. You cans see the importance of Settlers of Catan, always in the top five and number one half the time, despite being in the mass market now." (Items in red are out of print, but note that Eric Hautemont at Days of Wonder has confirmed that Ticket to Ride Map Collection: Volume 1 - Team Asia & Legendary Asia will return to print before the end of 2012.)


• Stephen Conway and David Coleson host the podcast The Spiel, and they've created a 40+-minute documentary titled "Made for Play: Board Games & Modern Industry" that details "every aspect of the manufacturing process: the technology and machines, the many detailed steps, and the hundreds of people that are involved in the production of a single game". As a secondary purpose, it serves as a great promotional video for Ludo Fact, the best-known games manufacturer in Germany, and its manufacturing partners.


• U.S. publisher Tasty Minstrel Games has announced an exclusive distribution deal with itself. Okay, that's just a clever way of saying that TMG is exiting the traditional U.S. distribution system and is instead trying something different. For your education and entertainment, I present the full press release from TMG announcing this change:

Quote:
TMG Goes Exclusive... With TMG.

For Immediate Release: July 24th, 2012

Prudence, indeed, will dictate that Systems of distribution long established should not be changed for light and transient causes; and accordingly all experience has shown, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed.

There has been a wave of game publishers declaring exclusive distribution relationships. Today, I announce, that TMG will have an exclusive distribution relationship with TMG.

First, I will explain where you will be able to buy TMG games when everything is changed. Then, I will explain the reasons for the change.

How Will This Work?

* Gamers will be able to buy TMG games from local retail stores, from Amazon.com (With Fulfillment By Amazon, and possibly a modest discount on many games), and from Game Salute's website (Full MSRP).

* Retail stores within the United States will be able to buy games directly from Game Salute at a full 50% discount, often including promos for that game, and can benefit from additional support. TMG titles will sell faster for these retailers than before thanks to the increased capability to buy advertising online.

* Retail stores outside of the United States will be able to buy TMG games from their non-US based distributor, who will in turn be buying from Game Salute.

If TMG is to be exclusive with itself, then what's up with Game Salute?

I have been working with Game Salute in a limited capcity since the preview nights for Eminent Domain. I believe that they can deliver what we need for the retail store and non-US distribution sales support...

Why Make The Change?

Since before I started TMG, I felt that the hobby board game industry was broken. I felt that many of the published games had weak game play and were over priced. I started, with a desire not to just publish some games, but to improve upon the industry.

Even in the early days of TMG, I found that I did not fit well into the standard distribution system. I did not conform well to their unwritten rules. From the beginning I decided to depend on myself to be able to move games, and not on their system.

And I found success.

As I continued developing my online marketing methods to push product through the established system, I noticed a handful of things.

* A game that should be priced at $50 needs to be priced at $60, because my ideal customers (those online that choose to communicate directly with me) saw a $50 game as really being a cost of $30.

* Many retailers order a copy or 2, wait for the game to sell and sometimes never reorder. There was no reason for them to sell a TMG title over something else.

* Distributors would occasionally misinform retailers that a game was out of print when they didn't have any in stock, despite the fact that I had hundreds of copies in the warehouse.

* That through my online marketing methods, I was selling about 25-30% of the total direct to consumers, while another 15-20% was being sold to non-US based distributors.

This is the sort of data and impetus I needed to get me to make the switch I had been considering for so long...

Some will think this is the beginning of a messy end for TMG.

I see this new path bringing about the realization of the company that I have envisioned since the beginning. Making this switch allows us to concentrate on improving further as a company.

To provide greater customer service, faster and more accurate shipping times thanks to integration with Amazon, develop more games to our current standards, improve our standards for games, improve the logistical and creative back end to reduce delays, seek more digital implementation of our games, and to continue into the future.

We will continue to make the best games that we can without compromise. We will continue to utilize Kickstarter, communicate directly with our fans, and develop the systems to grow into what I see for TMG. Mistakes will still happen, and we will continue to learn from them, just like before.

I did not start TMG to simply publish a couple of games...

I did not start TMG just because Seth Jaffee was doing great development work and could not find a publisher... (See Homesteaders, Belfort, Eminent Domain, Ground Floor, Kings of Air and Steam)

I did not start TMG so that I could play games and call it work...

I did not start TMG just because I saw some things about the industry that I felt I could do better...

Sure, all of those were factors, but most of all I started TMG because I wanted to make incredible games for people to play and enjoy. Not to make sales so a game could waste away in the shrink wrap. I started TMG because I love games, and I believe that games can be a foundation upon which strong family relationships and great friendships can be built.

So, I will make the choices and changes that I see as necessary to get incredible games played by as many people as possible. I see this as a necessary step towards that end.

I expect that these changes will take several months to fully implement and that after Gen Con 2012 the speed of implementation will increase.

Thank you for your time, your patience, and your understanding.

Michael Mindes, Founder
Tasty Minstrel Games
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Wed Jul 25, 2012 6:30 am
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Links: Too Many Choices x2 & Kickstarter as a Roman Circus

W. Eric Martin
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• In The Rumpus Room blog, San Il Defanso discusses "horrible freedom":

Quote:
[M]any gamers measure the quality of a game based on how much choice they are offered. They will often use the phrase "meaningful decisions", though many will not agree on what exactly that means. The consensus often revolves around the player being in control of what they do. If you make good decisions in a game, a game ought to reward you in measure for how good your decisions were. Any game that deprives you of that reward is considered to be "random" or "chaotic". Those words are used in some circles like swears, the most damning label you can apply to a game. If you can play an entire game to the best of your abilities, and your success or failure still depends at least partially on the roll of a die or the flip of a card, that can't be a very good game.

In some ways, I understand this sentiment...but I think there is something to be said for taking decisions out of the hand of the player...

I find myself drawn to games that force me to deal with bad luck. It's not merely the tension and excitement that comes from random elements. It's a bracing feeling when I'm actually able to overcome a bad hand of cards. There's a greater reward knowing that I conquered fate, than in merely learning how to think a little more efficiently. And even if I fail, who cares? It's just bad luck, and that's nobody's fault.

• Tying into that thought of "too many choices" being a bad thing comes this article by Maria Bustillos on The New Yorker, which is about books but doesn't have to be if you change a few words:

Quote:
Ars longa, vita brevis, said Hippocrates – more or less: time's a-wastin'. The worst corollary of this aphorism, to my mind, is that we are not going to have time to read everything. In fact, we're going to be able to read only the tiniest little bit. Some thousands of books – that is it...

There's been a lot of handwringing lately about "curation" (the original meaning of the word has morphed into something else entirely; maybe we still lack a needed word). It has come to signify sifting through the ever-increasing avalanche of "content" in order to identify the things that are worthiest of our attention, and bringing those things to an interested audience. In fact, there should be no question about this at all; with our time and attention being limited as they are, it's crucial that we have skilled cultural guides.

Books come to us by many twisty channels: reviewers, editors, bloggers, anthologists. Who is to be trusted with the question of that precious spot, among only a few thousand, to which one will dedicate the next book? When you feel hammered down by the incessant blaring about the new new new new thing, it is salutary to return to authors long dead.

• Online gaming site BoardSpace.net has added both Kamisado (online game) and Khet: The Laser Game (online game) to its offerings.

• Play or design train games? Jason Begy wants to hear from you for research related to a Ph.D. dissertation he's working on.

• Ian Bogost at Fast Company reveals the true nature of Kickstarter:

Quote:
Kickstarters are dreams, and that's their strength rather than their weakness. People back projects on Kickstarter to fund the development of a new creative work or a consumer product that might never see the light of day via traditional financing. But what if Kickstarter is more about the experience of kickstarting than it is about the finished products? When you fund something like OUYA [a new type of video game console that has topped $5 million in backing on KS], you're not pre-ordering a new console that will be made and marketed, you're buying a ticket on the ride, reserving a front-row seat to the process and endorsing an idea. It's a Like button attached to your wallet...

When faced with the reality of these products, disappointment is inevitable – not just because they're too little too late (if at all) but for even weirder reasons. We don't really want the stuff. We're paying for the sensation of a hypothetical idea, not the experience of a realized product. For the pleasure of desiring it. For the experience of watching it succeed beyond expectations or to fail dramatically. Kickstarter is just another form of entertainment. It's QVC for the Net set. And just like QVC, the products are usually less appealing than the excitement of learning about them for the first time and getting in early on the sale.
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Sun Jul 22, 2012 11:54 am
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Links: Sweet Game Imbalance, Exclusives = Higher Costs & Behind the Scenes of the 2012 Pulitzer No-Prize

W. Eric Martin
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• On the Painted Wooden Cubes blog, Mark Taylor praises imbalance, specifically as it relates to Cosmic Encounter. An excerpt:

Quote:
Imbalance may feel like part of the charm of Cosmic Encounter. It does for me. While mutual dependency may be the basis for negotiation to be meaningful (I will give you the wood you need in exchange for the brick I need is meaningful in terms of the outcome of a game), imbalance is the basis for negotiation to be interesting...

[T]he alien powers in Cosmic Encounter mean unequal encounters, which require invention to tackle – convincing other players to ally with you when you're up against a tricksy alien like the sorcerer (who can chose to switch his played encounter card with the one you played) is tough. It might require promises of future cooperation, or a commitment to make a favourable exchange the next time the chance arises. Either could be an outright lie, of course. But whether promises made are sincere or not, they come about because an imbalance in power means they must.

• Derek Thompson at MeepleTown interviews designer Stefan Dorra and among other things talks about his upcoming game Milestones, co-designer with Ralf zur Linde:

Quote:
I think Milestones is the most ambitious game from Ralf and me. The rules are very simple, but there are many different ways to win this game. The players build houses, streets and marketplaces on the game board and they get points for these buildings. But if you want to build a house or a street, you have to produce sand and stone. This happens on a player board. Every player has an individual board with different spaces. On the 8 upper spaces you can hire some workers, who produce stones, wood, sand, grain or coins. On the four building spaces, you can take actions, such as hiring new workers, building on the main game board or delivering grain. These 12 spaces form a circle. You can move your playing piece slowly or fast around this circle. If you go slowly, you will earn more coins or wood. If you go fast, you can build a house first.

• In internal affairs at BGG HQ, the thumb count on the Gone Cardboard widget on the front page has undergone a significant embiggening in the past week. Why? Well, previously the thumb count tracked those who had thumbed the game on Gone Cardboard itself – Gone Cardboard being BGG's game release calendar, for those who didn't already know this – and now the thumb count is drawn from those BGG users who have added the game to their personal wishlist. That wishlist data already exists, and it seemed odd to create two levels of wishlist, so we've nerfed the newer GC one in favor of the more established one.

• In mid-July 2012, U.S. publisher Mayfair Games announced that Alliance Game Distributors would now be its exclusive distributor for the hobby market. Someone at Black Diamond Games, a retail shop in Concord, California, explains how this move will affect his bottom line:

Quote:
The game distribution system, at least for the big guys, works off a discount model. When you start with a distributor, your discount is pretty weak, usually 47% or so. As you buy from a distributor, your volume increases your discount level, usually capped at 50%. So generally, if you work towards that discount level, you'll have a 49-50% with your primary and something in the basement with your secondary. I've got a 50% with most of mine and until recently, I only had a 47% with my secondary (Alliance). So what does this mean?

It means if you don't have Alliance as your primary distributor, you're losing money on these exclusives, which for me is 22% of my board games. It's a different amount for each game store, but I figure I would lose about $1,000 a year in added "cost of goods" costs. I don't know about you, but when my bills go up $83/month, I tend to howl a bit.

So what's the solution to exclusives and higher costs?

Quote:
So the obvious answer, the one I'm sure Alliance is not unaware of, is to change your primary distributor to Alliance. Or, if you've got enough volume, add Alliance as your strong secondary distributor to boost your discount level. That's what I've done this year, at the expense of many of the smaller distributors.

Oooookay, not much of a solution really as you're giving Alliance exactly what it wants at the expense of other distributors. Score one more win for Alliance...

• Given all the recent hoo-hah over which games have won (and have not won) which awards, I thought I'd point out two articles on The New Yorker blog by author Michael Cunningham, one of three jury members for the 2012 Pulitzer Prize for fiction. In the end, after considering the three nominees, the 18 members of the Pulitzer Prize Board announced that no winner would be named. As quoted in the Los Angeles Times, Sig Gissler, administrator of the Pulitzer Prizes, said, "The three books were fully considered, but in the end, none mustered the mandatory majority for granting a prize, so no prize was awarded. This is the 11th time this has happened in the fiction category; the last time was 1977. It's unusual, but it does occur."

Cunningham's articles cover the selection of the nominees from the three hundred novels and short story collections sent to the jury members and the possibly fruitless and always contentious question of whether you can identify greatness when it appears, something he describes as "an attempt to appreciate an entire train while you're a passenger in one of its cars". An excerpt from the second article:

Quote:
As we jurors continued to find books we loved but failed to find the One, the Great Invincible, I confess (I can't indict Maureen or Susan [the two other jury members] along with me) that I wanted not only to recognize genius but also to escape going down in history as one of the people who failed to recognize it. Someone who missed the Northern Lights because they were fussing with a lapdog; who proved unable to see beyond their readerly peccadillos and prejudices or their flat-out limitations.

This ongoing state of agitation was not helped by the knowledge that a great new book, more or less by definition, doesn't much resemble the great books of the past. Nor was it helped by my suspicion that many of the long-forgotten critics and prize-givers who decimated Moby-Dick or ignored The Sound and the Fury failed to understand that the future wouldn't mind Melville's insistence on all those longish chapters devoted to whaling arcana, or Faulkner's devotion to a lexicon that could seem simultaneously oracular and impenetrable, that sometimes barely resembled the English most of us had spoken, with relative confidence, since childhood...

Finally, there was the question of shifting sensibilities. When Maureen, Susan, and I talked Big Book, we were thinking almost literally – a book that was, if not over five hundred pages long, vast in its scope, enormous in its concerns.

But as I scanned the cartons for Big Ones, I found myself thinking more and more of the Impressionists. I wondered over the fact that, in the course of several centuries, "serious" painting ceased to favor great historical or religious subjects, which tended to incorporate at least two dozen figures, facial and bodily expressions that ranged from despair to ecstasy, a landscape, a horse or two, symbolic vestments, symbolic gestures, and (optional, but recommended) various saints and angels, approving or angered, up among the roil and brilliance of the clouds.

And then, a mere minute later in historical time, a "serious" painting could be a Monet haystack. It could be a Cezanne portrait of a local farmer in overalls. It could be an empty Van Gogh field under an empty sky.

The Impressionists don't strike us (don't strike me, anyway) as lesser artists simply because they worked on an outwardly more modest scale. At the Metropolitan Museum of Art, do I hurry past the paintings by Monet and Cezanne and Van Gogh to get to those by Tintoretto and the Delacoix? I do not. I'm happy to see all of them, but the Monets and Cezannes and Van Goghs don't look small compared to the Tintorettos and Delacroixes. They're just big in different ways.
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Thu Jul 19, 2012 4:24 pm
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