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Terraform Mars Anew in 3D

W. Eric Martin
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Board Game: Terraforming Mars
Since its release in 2016, people have not been able to get enough Terraforming Mars, so designer Jacob Fryxelius and lead publisher FryxGames and Stronghold Games have released five expansions, along with additional corporation cards, various promo cards, and other doodads.

Now FryxGames and Stronghold Games have announced a mid-June 2020 launch date for a Kickstarter for Terraforming Mars: Big Box, the contents of which are detailed as follows:
Quote:
Terraforming Mars: Big Box is both a storage option for all the Terraforming Mars material released to date — the base game, five expansions, and the first-player rover — and a set of 3D terrain tiles to dress up the game. Included in the box are:

• 24 city tiles (four each of six designs)
• 40 forest tiles (eight each of five designs)
• 9 ocean tiles
• 14 special tiles (the original eleven, plus three new ones)

Board Game: Terraforming Mars: Big Box

Terraforming Mars: Big Box also includes three new cards that relate to the three new special tiles, card dividers, and five plastic markers for the global parameters.
I'm not sure who has been asking for a Nuclear Zone tile in order to flatten a section of Mars that has only recently been terraformed, but that tile is coming nonetheless:
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Build a More Epic Civilization with Through the Ages: New Leaders and Wonders

Candice Harris
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Board Game: Through the Ages: A Story of Civilization

Board Game: Through the Ages: A Story of Civilization

Board Game: Through the Ages: A New Story of Civilization
Through the Ages has some serious history, and I'm not just referring to its theme. In 2006, the first edition of Vlaada Chvátil's card-drafting, civ-building magnum opus — Through the Ages: A Story of Civilization — was released by Czech Board Games.

In 2007, a new publishing company — Czech Games Edition (CGE) — was established and released its first titles: Galaxy Trucker, also by Vlaada Chvátil, and League of Six by Vladimír Suchý. Fast forward years later to 2015 when Chvátil and CGE released a revamped and slightly retitled second edition of Through the Ages: A New Story of Civilization, which was followed by an excellent digital adaptation in 2017. The Through the Ages app is considered by many (including myself) to be one of the best digital implementations of a board game.

The natural next step was for Chvátil and CGE to further enhance the Through the Ages experience, so the New Leaders and Wonders expansion was created and released in 2019...well, digitally at least. Finally in 2020, the analog English-language version of the New Leaders and Wonders expansion is here. Considering that the New Leaders and Wonders expansion has been available digitally for some time, I wanted to let you know what you can expect in the tabletop version, much of which is also available in the app. (Note that I received a review copy of Through the Ages: New Leaders and Wonders from CGE.)

If you're not already hip to Through the Ages, here's a high-level overview of this challenging, card-driven, civilization-building game for 2-4 players:
Quote:
Each player attempts to build the best civilization through careful resource management, discovering new technologies, electing the right leaders, building wonders, and maintaining a strong military. Weakness in any area can be exploited by your opponents. The game takes place throughout the ages beginning in the age of antiquity and ending in the modern age.

One of the primary mechanisms in TTA is card drafting. Technologies, wonders, and leaders come into play and become easier to draft the longer they are in play. In order to use a technology you will need enough science to discover it, enough food to create a population to man it, and enough resources (ore) to build the building to use it. While balancing the resources needed to advance your technology, you also need to build a military. Military is built in the same way as civilian buildings. Players that have a weak military will be preyed upon by other players. There is no map in the game so you cannot lose territory, but players with higher military will steal resources, science, kill leaders, and take population or culture. It is very difficult to win with a large military, but it is very easy to lose because of a weak one.

Victory is achieved by the player whose nation has the most culture at the end of the modern age.
Board Game: Through the Ages: New Leaders and Wonders

The New Leaders and Wonders expansion seriously amps up the replay value of Through the Ages! Players have plenty to chew on here with the added variety of not only forty new leaders and wonders, but also nineteen new military cards and different variants for incorporating the new leaders and wonders with the base game to maximize replayability. In addition, New Leaders and Wonders includes rebalanced versions of some cards from the base game as well as additional base game cards to adjust the game length for three- and four-player games.

Due to changes in printing technologies, there was no way to match the backs of the new military cards to the old ones, so CGE ended up reprinting all of the base game military cards for this expansion due to the importance of maintaining secrecy with players' military cards. I understand this wasn't the original game plan and it caused some delays, but kudos to the CGE team for taking the extra steps to get it right.

As mentioned above, the New Leaders and Wonders expansion also includes additional cards to rebalance the base game. The rebalancing decisions were made based on the opinions of experienced players and statistics from tens of thousands of online games. I personally have not played the base game alone enough times to speak to the impact of these changes, but the good news is that you can choose to use the rebalanced cards if you like them or continue using the original version. The goal was to make some of the stronger cards that experienced players would always tend to swoop up a little less powerful, and in contrast, make some of the weaker cards more powerful to entice players to choose them more often. Here are a couple of examples of original base game cards (left) vs. expansion rebalanced cards (right):

From gallery of candidrum

From gallery of candidrum

From gallery of candidrum

You can see the new version of Napoleon Bonaparte is less powerful now that it grants only one military action (red cube) instead of two, whereas the new versions of the other examples are a bit juicier; Hanging Gardens now grants players a two-food bonus upon completion, and Fundamentalism has a reduced science cost and provides an increased military value.

CGE also addressed imbalance in the action cards between player counts. In the base game, the same number of action cards are used for all player counts, which made them harder to acquire in three- and four-player games. This was addressed by adding more action cards for 3+ players so that these games will have slightly more cards than before. Due to social distancing, I have not been able to play any three- or four-player games of the tabletop version to see how it feels, but I can certainly appreciate all the research the CGE team did to realize these rebalancing changes were needed.

Besides the abundance of new and updated cards included in this expansion, there are different ways you can incorporate the new leaders and wonders which will for sure keep Through the Ages fresh and interesting, game after game:

• You could play a "Pure Expansion" game in which you replace all the base game wonders and leaders with the expansion wonders and leaders and follow the usual game rules.

• You could alternatively play a "Secret Mix" game in which you combine the base game and expansion leaders and wonders and not know which will be included until they appear when you're replenishing the card row. You'll basically separate the cards by age and type (leader vs. wonder), then shuffle each deck and draw six leaders and four wonders for each age in a two-player game, and seven leaders and five wonders for each age in three- and four-player games. Incorporating additional leaders and wonders in three- and four-player games now is a solid tweak considering more players are competing for them.

• You could also play a "Public Mix" game, which is perhaps my favorite because it incorporates the new proxy cards that are used in conjunction with the new wonder and leader boards. This is an awesome new addition for strategic planning. You'll know exactly which leaders and wonders are coming down the pike, but you don't know exactly when they'll appear in the card row.

When playing the "Public Mix", you use the specified number of leaders and wonders, but instead of shuffling the selected leaders and wonders into the appropriate age civil card decks, you display them, one age at a time, on the new wonder and leader boards so that all players can see them before they enter the card row. How will these wonders and leaders make their way into the card row? That's where the proxy cards come into play.

From gallery of candidrum

Each proxy card has a number matching the numbers on the wonder and leader boards. You shuffle the proxy cards into the civil card decks for each age, then when you are replenishing the card row, if a proxy card appears, you discard it and replace it with the corresponding wonder or leader that matches its number. Once all the wonders and leaders have been moved to the card row for a given age, i.e., once the wonder and leader boards are empty, you refill both boards with wonders and leaders for the next age.

Seeing the leaders and wonders ahead of time really helps you plan, but does not guarantee you'll score the card(s) you're hoping for. This set-up might even save some time during the overall game since players can examine the future wonders and leaders ahead of time when it's not their turn. I'm all for trying anything to make the game move a little faster. I'm sure not everyone will love the "Public Mix" variant as much as I do, but the point is that you have plenty of options to explore, which will introduce more variety to the game.

From gallery of candidrum

When I initially dabbled in Through the Ages, I didn't quite get into it...or shall I say, I didn't quite get it. Let's face it — this is a hard game to play. After playing more, inspired by many of my friends who are TtA fanatics, I'm pretty hooked and appreciate it more with each play. I still have a lot to learn, but I do enjoy it. The engine building is challenging considering it's an extremely tight balancing act of trying to keep up with literally everything — military, science, culture, food and resource production, etc. — to stay afloat, but it feels so satisfying when your civilization starts to really develop and grow. The player interaction is incredibly enjoyable, too, with players driving the political events and having the ability to create pacts and initiate aggressions and wars with other players.

The New Leaders and Wonders expansion adds so much juicy variety and spice to an already awesome game. If you enjoy expansions like this that mainly add variety and increase the replay value of a game with minimal rules changes, I suspect you'll dig this expansion for Through the Ages. Even considering the rebalanced cards alone, you might consider this an essential expansion depending on your experiences with the base game, but for me, a Through the Ages rookie, I think I'm mainly into this for all the added flavor. Of course, ask me five years from now when I have more games under my belt and I might have a different response.

If you're already a big fan of the base game, I'm sure the Through the Ages: New Leaders and Wonders expansion is probably a no brainer, but if you're on the fence and curious to try it out, I recommend checking out the app adaption first. It's solid with an excellent tutorial, and it's a great way to see whether this is something you might want to delve deeper into.

Also, if you're interested in hearing about the origins of Through the Ages, you can check out Vlaada Chvátil's designer notes. I've found them to be quite interesting and insightful!
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Advice for Designers and Publishers: How to Submit Listings for Games, People and Publishers to the BGG Database

W. Eric Martin
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From gallery of W Eric Martin
[Editor's note: I first published this guide in December 2014, but the BGG layout and UI has changed since then, so I've updated this guide with new images and clarified directions. —WEM]

Some articles in my "Advice for Designers and Publishers" series will be relevant whether or not these people are active on BGG, such as the introductory article on how to write a press release; other articles, however, pertain solely to the ins-and-outs of BGG, but a side benefit of such omphaloskepsic posts is that they will be useful to BGG users at large, such as today's article about how to submit items to the BGG database.

I've heard from more than one user that they found the submission process confusing. I can't argue with that. As with many parts of BGG, the submission process has changed over time, with bits being added or removed as the needs of the site and requests of the users change over time. If this submission process changes greatly in the future, I'll write another article to address those changes; for now, though, this should cover what you need to know. If it doesn't, ask questions in the comments section and I'll answer them and update this article.

Before we get to the how, let's start with the what?

•••

What's the mission of BoardGameGeek? And what is this database I'm referencing?

The short answer: "BoardGameGeek is a database and social community that's centered around board games, and its mission is to be the definitive resource on every board game ever created."

For now, when you look at the BGG front page, you see tons of posts and reviews and questions about this-or-that game, and by clicking around you'll find yourself on some part of the database: a game listing, a video highlighting how to play a game, etc.

From gallery of W Eric Martin

To get a sense of the entire database, click "Browse" in the upper menu bar, then click on "All Boardgames" (circled in the image above); doing so brings up a list of the 117,000+ items in the BGG database as of June 4, 2020, with these games being organized by rank with Gloomhaven at #1 and Tic-Tac-Toe at #19010, followed by nearly one thousand pages of unranked games. (A game needs at least thirty ratings to become ranked. To rate a game, click on the star of your choice in the black info box at the top of a game page, as demonstrated in the image below. You'll then be invited to leave a comment to accompany your rating. You must be logged in to rate a game.)

From gallery of W Eric Martin

Quote:
Fun sidenote: When I first posted this article in Dec. 2014, Tic-Tac-Toe was ranked last at #10453, and it was followed by more than six hundred pages of unranked games. Thus, in five-and-a-half years, more than 8,500 games have become ranked and more than 35,000 unranked items have been added to the database. In other words, the BGG database is averaging more than six thousand new entries annually.
So is BGG the "definitive resource"? We're not 100% there since new games are being published every day and thousands of older games remain uncatalogued, but with sites like Luding.org listing 31k games (25k in 2014) and TricTrac.net listing 18k (16k in 2014), BGG might have a better claim to that title than anyone else.

To keep that database growing and to try to reach the (unobtainable) 100% completeness bar, we input some game information ourselves — primarily through me adding titles in advance of game conventions such as Spielwarenmesse, FIJ, Origins, Gen Con, and SPIEL — while getting most of that information via user submissions, which leads us to the following question and our true starting point:

•••

How does one submit items to the BGG database?

To start, you need to click on another term in the upper menu bar: "Community".

From gallery of W Eric Martin

This section has a variety of interesting things to explore, while also highlighting material submitted by your fellow BGG users (images, blogs, podcasts, etc.) and links to submit games, publishers, and people (i.e., designers and artists) to the database. I'll skip how to submit accessories, podcasts and families (with a family being a group of games related in some manner) to focus on these other things.

Clicking on "Board Game" brings up this crazy-long form:

From gallery of W Eric Martin

Whoa. Lots to absorb there, but thankfully we can start with something simpler, namely how to add people and publishers to the database. What's more, if a designer or artist or publisher isn't already in the database, we suggest that you submit listings for them first. In practice, you can submit games first and the other stuff later or vice versa, but by submitting people and publishers first, you should ideally then be able to submit a more complete game listing — and since game listings are the raison d'être of the database, better to have them be as polished as possible.

Before you submit anything, though, I'll point out the following pages that you might find of interest:

Pending game submissions
Pending people submissions
Pending publisher submissions

These pages show the pending submissions that BGG users have already submitted. If you search these lists and find the game, person or publisher that you had planned to submit, you can relax as someone else has already done the job for you. If, however, you are the publisher or designer in question, feel free to continue with this process and point out in the "Note to Admin" section on each page that you are the publisher or designer in question, or you are responsible for the game in question.

With that out of the way, we'll now jump to...

•••

How to submit a publisher listing

Click on "Publisher" under "Community", and you'll see the following screen (but without the red numbers in place):

From gallery of W Eric Martin

You didn't realize it was that easy to create a publisher, did you? Fill out this form, and *poof* you've got yourself a publisher! Well, okay, to be technical you have created a submission for a publisher listing in the approval queue, but it's something.

To complete this form, add the following information:

Board Game Publisher: Funforge
1. Primary Name: Type the publisher's name as it appears on the publisher's website, perhaps in the "Contact us" or "About us" sections as those should give you the precise way that the name is spelled. Why is that important? Because you can't always grasp a publisher's name from its logo. Look at the logo at right for example. Is the name "Fun Forge", "FunForge", "Funforge", "FUNFORGE", or something else entirely? A quick look at the publisher's "About us" page reveals that the name is "Funforge", which is how we list it in our database.

In some cases, as with Chinese, Japanese and Korean publishers, a publisher has more than one name, say a name in its original language ("カナイ製作所") and a translated name in English ("Kanai Factory"). Please submit the English name as the primary name since that is easier for the majority of BGG users to search for and to type on their keyboards; in the "Note to Admin" section, write something like "Alternate name: カナイ製作所" and whichever admin approves the submission will ideally add this alternate name to the publisher listing.

If a publisher's name includes characters from multiple languages, such as "Nukenin合同会社", then submit that as the name of the publisher and note the combined nature of the name in the "Note to Admin". If a publisher doesn't have a name in Roman characters, such as Japanese publisher ビストロ怪談倶楽部 , then please submit the name as follows with a translation in parentheses: "ビストロ怪談倶楽部 (Bistro Kaidan Club)", which is what we have listed on that publisher's page. This format preserves the original name, but also provides a more searchable name for general use.

2. Description: Feel free in this section to quote from the publisher's "About us" — preferably finishing this section by writing "—description from the publisher" — but if you know something about the publisher firsthand, write the description in your own words. If you know nothing else about the publisher, simply write "Japanese publisher" or something similar and cross your fingers that someone else will fill in the details later.

3. Board Game Credits: Given that the publisher is not listed in the database — and it's not listed, is it? you did search for it first before heading to this form? — the name of any games published by this entity will likely not be listed in the database either.

Or will they? New publishers sometimes come into being in order to release a new version of an out-of-print game or a game published only in some other part of the world. Stronghold Games was one such example of this, with its first release being a new version of Robert Abbott's Confusion, which had appeared only in a short-run edition from German publisher franjos in 1992. Thus, if you're submitting a listing for a publisher releasing a new edition of a published game, click "Add Board Game Credits", enter the game's name, then click on that name. When this publisher listing is approved, the publisher's name will then appear on that game listing and the publisher listing will show a credit for that game.

If the game's name doesn't come up when you search for it (or a matching name is for a different game), leave this section blank as you'll submit the game listing later.

4. Note to Admin: Use this section to include information about alternate names, to list the URL of the publisher's website or its Facebook page (to provide proof of its existence), to note that you represent this company (if you are), or to tell us whatever else seems relevant to this submission.

5. Click the "Save" button.

Okay, that was relatively easy, so let's move on to...

•••

How to submit a designer or artist listing

Click on "Person" under "Community", and you'll see the following screen (but without the red numbers in place):

From gallery of W Eric Martin

Create person?! Why that sounds like a great idea!


Anyway, this form allows you to submit the name of either a designer or artist to the database, and it works much like the publisher submission form:

1. Name: As with the publisher listing, you want to submit a name that represents how that designer or artist wants it to appear in print. "Eric M. Lang", for example, is how that designer's name appears on games, so that's how it should be listed in the BGG database.

Also as with publisher listings, if a person uses both a Roman-letter name and a character-based name, please use the English transliteration of a person's name as the primary name ("Seiji Kanai") while adding in the "Note to Admin" box something like "Alternate name: カナイセイジ". Please submit names in the order of (given name) (family name) to ensure consistency across the database. With Kanai's name, for example, his name in Japanese is in the order used by that country — (family name) (given name) — but for his primary name we use (given name) (family name), which is also how it appears on most game boxes.

And to repeat another note from publisher listings, if a person uses only a character-based name, such as "わけん", then please submit the name in this format — "わけん (Reason)" — with an English-language translation in parentheses following the name.

2. Description: As with publisher listings, you might be able to pull a biography of the person from a personal website, but you might be limited to "Japanese designer", "French artist", or something similarly lame. So it goes.

3. Board Game Designer (Artist) Credits: As with publisher listings, the game which this person has created (or illustrated) may or may not already be in the BGG database. Sometimes a user finds out about a game without knowing the creator or artist and submits it. Thus, you can search for the game name and click it if the game is already in the system; if not, don't click anything and move on.

4. Note to Admin: Feel free to include alternate names, links to personal websites, the fact that you are the person in question, and other details that help prove your case that the person in the submission is the correct person. Proof is always better than your say-so, but often your say-so is good enough for us until proven otherwise.

5. Click the "Save" button.

That was also simple, yes? Once you've submitted listings for the designer, artist, and publisher, feel free to get yourself a fresh cup of coffee in order for the BGG cache to record your submissions. From experience, I'd guess this takes one to several minutes, after which you'll be able to choose this designer or publisher when submitting a game listing — even though these earlier submissions have not yet been approved.

Okay, now it's time to move to the big challenge:

•••

How to submit a game listing

Click on "Board Game" under "Community", and you'll see the following screen (but without the red numbers in place):

From gallery of W Eric Martin

Note that I've broken the game submission page into three pieces in order to provide interludes and cover stuff in related groups. With that said, let's get started, examining each of the numbered sections in turn:

0. Guide to Game Submissions: Note that BGG already has a "Guide to Game Submissions" in its wiki, and to some degree I'm duplicating that effort through this post. Perhaps I should have merely updated and expanded that page, but it's been there forever and is somewhat invisible, whereas people can comment on this post, ask questions, and perhaps better figure out all of the details to this process. Perhaps in the future, I can transfer this material to that wiki. Duplication of effort — it's the American way!

1. Primary Name: This is the title of the game, with the ideal format being "Title: Subtitle – Additional Subtitle", with a colon separating the title from subtitle and an en dash separating the subtitle from additional subtitle. (We have a program that automatically compiles titles not in this format so that we can standardize them, but if you want to do that up front, we'd love you just a little bit more.)

One note about subtitles: We are now leaning toward not including additional subtitles — or even subtitles — unless they differentiate the game from other games with similar names or the publisher uses the subtitle consistently as a critical part of the game's title. We'll have more to say about this topic once we officially change the submission guidelines.

Once again, as with publisher and person submissions, we prefer to have a title in English for games released with non-Roman letter titles. If the title is in, say, German, then leave it in German and don't use an English title because most BGG users can type "Die enorme Fuß und die winzigen Toe" without much trouble. Typing "あ~した天気にニャ~れ!!", on the other hand, is more challenging, so rather than require almost everyone to cut and paste, we ask that an English translation of the title be included in parentheses following the original title if no version of the game with a Romanized title exists — in this case, the game is listed in the BGG database as "あ~した天気にニャ~れ!! (Wishing for Fine Weather!!)".

Board Game: Little Town
If, however, a game is released with titles in both a Romanized and a character-based language, as with "Little Town Builders", a.k.a. "リトルタウンビルダーズ", then use "Little Town Builders" as the primary name and use the "Note to Admin" section to write "Alternate title: リトルタウンビルダーズ" so that an admin can add this info to the approved game listing.

2. Description: Ideally in this section you can submit a 1-4 paragraph description of the game written in a neutral voice that covers the game's setting, goal, and gameplay.

In general, your goal is to describe the game in enough detail that the description wouldn't fit another game while not going into so much detail that you're describing the entirety of the game. By covering the setting, you tell us our role in the game world; by explaining the goal, you tell us what we're trying to do in this world; and by describing the gameplay, you tell us how to move toward achieving that goal. That sounds abstract and clinical, but your description doesn't have to come across that way. Feel free to include personality in the description, but keep away from marketing talk — "a minute to learn, a lifetime to master", "fun for the whole family" — and other nonsense like that.

If nothing else is handy, go ahead and use the description from the publisher, but please include a "''—description from the publisher''" footer (with the double apostrophes creating italic text in the wiki) and remove fluff sentences that relate more to selling the game than describing it.

3. Short description: BGG introduced this feature in May 2020, and the short take on short descriptions is that you should submit a sentence of at most 85 characters that attempts to convey the essence of this game. I wrote much more on this topic with many examples here.

4. Year released: In which year was the game first available for purchase through retail outlets? That year counts as the game's debut, so that's what we want to list. (Note that we previously used this field to record the first availability of a game to people not involved with its creation. This description is subtly different from the current guideline and affects primarily Kickstarted games delivered at the end of one year but released at retail in the subsequent year. As with the change to the primary name, we'll have more to say on this topic later.)

5. Minimum and maximum players: In general, these fields are easy to complete because you can look at the box or publisher's website or retailer listing and see this information.

Board Game: For Sale
That said, the question isn't always clear because sometimes that information changes from one version to another, or from one publisher to another. When Uberplay released its version of For Sale, it added more components so that up to six people could play whereas the original edition maxed out at five players. Some versions of Puerto Rico include rules for playing with two, whereas the earliest editions allowed for only 3-5 players. What to do, what to do? We tend to allow for the widest range of players possible because even if your particular copy of PR doesn't have two-player rules, you can probably find rules to make it happen. Perhaps we should list a player count for each version of the game, but that way lies madness.

6. Minimum age: Again, this field seems easy, but different publishers have different standards. Many publishers in the U.S., for example, adopt a minimum age of 13+ or 14+ so that they don't have to undergo expensive CPSIA tests required for children's products even though a game labeled for ages 10+ is by no means a children's product! In these cases, we again tend to go for whatever the widest range is, working under the assumption that kids in Europe and Asia aren't that much smarter than kids in the U.S.

7. Minimum and maximum playing time: Once again, look to the box for such numbers. If only one value is given for a playing time, please place that number in both fields since the advanced search function lets you specify only one of them when conducting a search.
Quote:
I'll note that in 2014, "playing time" was only a single field. Here's what I had written at that time: "When BGG was set up, someone decided to make this field accept only a single numeral instead of a range of numerals, so when confronted with a playing time of 30-60 minutes, we tend to split the difference and list the playing time as 45 minutes. Ideally we could split this into two fields so that games at the extreme such as Caverna (for 1-7 players and playing in 30-210 minutes) would be more accurately represented, but I'm not a tech guy and have been warned that it would be hard to do this now, especially since such a change could invite 70,000 game corrections, with different versions of games having different playing times in addition to different suggested ages. Fun!"

Well, we did it, by George, and 70,000+ corrections later, we're still standing!
8. Category and mechanism: For these two areas, you click on the link and choose whatever is appropriate on the lists presented to you. I understand the arguments that BGG sometimes blurs categories and mechanisms in these lists, but righting these "wrongs" is outside my area of expertise. (BGG vastly expanded the mechanisms it catalogs in 2019 as explained here and here.)

9. Family: I mentioned families above when I talked about submission types that I won't cover. For many games you can search for reasonable sounding families and often find ones that already exist in the database: families related to countries and cities, families related to animals and professions, families related to media properties and authors, and on and on and on.

10. Expands: Use this field if the item you're submitting is an expansion for an existing game and not itself a standalone game. This last bit is important because when something is categorized as an expansion, then it cannot be ranked in the BGG system, no matter how many ratings it has. (We removed expansions from the rankings some years ago because expansions are nearly always rated higher than the base games. After all, if you hate the base game or are even indifferent to it, you'll likely avoid the expansion, which means that it's played mostly by those who are more prone to like it.)

And hey, check out how this section continued in 2014:
Quote:
Thus, for items like the next Ascension set (which is both a standalone item and an expansion for all other Ascension sets) or a Smash Up set that functions in the same way, please don't use the "expands" link because the item can also function as a standalone game and we want to classify it in that manner. For now we use an "Integrates with:" list to get around this pothole, as can be seen in the description of this Ascension game, but I'd like to see a dedicated "Integrates with:" two-way linking system added to a game's main info box in the future. I've lobbied for this, but as I mentioned earlier, I'm not the tech guy, so I ask for all sorts of things without having any idea of how complicated they'd be to implement.
Turns out that we could indeed add this field, so we did:

11. Integrates with: If a game is a standalone game, yet also serves as an expansion for another game (with that game likewise serving as an expansion for the title being added, as with the Ascension and Smash Up families mentioned above), then link to those integrable titles here.

12. Contains: This field is for items such as Puerto Rico: Limited Anniversary Edition, which differs from the Puerto Rico base game in that it includes some of the existing expansions and tons of juicy components and would likely be bought and rated by folks who already love the base game, thus skewing it higher in the rankings and giving PR two spots in the BGG ranking list even though at heart it's the same thing. If you're submitting something like a thirtieth anniversary edition of Bohnanza (coming in 2027!) that includes multiple expansions, then you'd use this field to link to all of the items already listed in the database that it contains.

Board Game: Lords of Xidit
This set-up isn't perfect. The 2014 release Lords of Xidit is packaged with two bonus cards for Seasons, a separate game set in the same world. Technically Lords of Xidit contains these expansion cards for Seasons, but if we use that "contains" link, then Xidit won't be ranked, even though it should be. We know about the problem, but lack a solution. It's such a corner case that we'll probably see something like this at most a half-dozen times a year, yet you still want a way to list this cleanly. Well, at least I do anyway...

13. Reimplements: Is the game that you're submitting a new version of a previously released game and (this is the important part) the designer or publisher has stated this directly? The 2014 release Rattlebones plays very much like a Dominion with dice, and Rattlebones designer Stephen Glenn has stated that he was inspired by Dominion for this design, but in no way would we list Rattlebones as a reimplementation of Dominion.

More recently, the 2019 title Nova Luna is based on the 2016 title Habitats, with Habitats designer Corné van Moorsel bearing a co-designer credit on Nova Luna and the link between the two games being described in the Nova Luna rulebook, so the reimplementation link connects these two designs to show their relationship.

14. Designer/Artist: Click on the links in these fields, find the appropriate people, then click on those names to add them to this game listing. You did add them to the BGG database earlier, yes?

15. Publisher: As with the above section, search for the publisher or publishers responsible for this game and click on them.

From gallery of W Eric Martin

16. Version Information: Versions were added to the BGG database in 2009, and the goal behind listing them was to allow people to track exactly which version of a game they own, to indicate which version you're selling in the marketplace (although doing so is optional), and to compare the images for this or that version that's been released over the years.

What's the difference between a version and a new game? It's a fine line, and something that's tough to define, although some BGG admins have tried to do so in lengthy detail. As I mentioned earlier, Uberplay's For Sale that allows up to six players is listed as a new version of the original Ravensburger For Sale, even though the component counts differ, but Game of Thrones: Westeros Intrigue is listed as a separate game than Penguin even though they're arguably more similar than the two For Sales. I'll accept that we're inconsistent — and will stay that way, as I noted in a February 2014 BGGN post — but I also apologize for the confusion. We do what we can.

That said, sometimes multiple versions of a game are announced at the same time, say, a German version from Hans im Glück and an English one from Z-Man Games. That's where the "Clone This" link comes in. You can first add whatever information is the same for both versions of the game (box size, year of release, artist, etc.), then click "Clone This" to create a second version listing with all the info that you've already entered, then you can finish off the version listings with the unique information for each version (publisher, language, release date, etc.) "Add Another" works similarly, but copies none of the information that you've entered.

17. Version nickname: We have guidelines for how to name versions (and do many other things), but nicknames tend to be all over the place.

In general, we prefer a format of "(language) edition" or "(language)/(second language) edition" or (when more than two languages are involved) "(abbreviated language)/(abbreviated language)/(abbreviated language) edition", e.g. "EN/FR/GE edition", but many other combinations exist, so I'll refer you to the linked version guidelines, which I need to clean up and revise yet again.

18. & 19. Version publisher and Version artist: Search for and click on the appropriate names for these fields based on whatever version you are currently entering.

20. Year published: This field is meant to be the year in which this version of the game can be acquired by someone not involved with its creation, whether from the publisher directly, a print-and-play copy through the designer's website (in which case this is a "Print-and-play edition"), at a convention, or through a retail outlet. The "year published" field might not match the "year released" field as sometimes games are available to people prior to them being officially released through retail outlets. This is okay; the version info records the first time this particular version could be acquired, whereas the game's "year released" field records the publisher's official street date, assuming one is given.

21. Product code: Most publishers use a code — a series of numbers or letters or combination of both — to designate each title they release. They do this because manufacturers, distributors and retailers want to use standardized codes to prefer to product instead of names that sometimes have to be parsed to determine exactly what one is talking about. Do you mean Risk: The Lord of the Rings or Risk: The Lord of the Rings Trilogy Edition? Which chapter pack for A Game of Thrones: The Card Game did a customer order: A Time of Trials or A Time for Wolves?

22. Dimensions: Some people like to know this information, especially if they plan to ship the game or have someone else ship it to them. How much will will USPS soak me for? We have a few preset sizes that are commonly used by publishers, but if you have the exact dimensions feel free to enter them, with the largest dimension as the length, the next largest as the width, and the smallest dimension being the depth. Yes, one box might have a portrait view and another a landscape view, but (1) you can see how the art looks from the box cover image and (2) if you consistently list dimensions from large to small, you can more easily imagine how one box size compares to another.

Additionally, note that the default for this field is inches. To submit lengths in centimeters, choose this option from the pulldown menu.

23. Weight: Not sure what to say here. Some folks want to know this stat so that they can build their bookshelves accordingly or plan mailing costs to the dime. Note that the default weight is pounds; use the pulldown menu to choose kilograms.

24. Languages: Click on the languages to match the rules to be included in the game. Don't see the language you need? Include a note to the admin with your suggestion. We've added Bulgarian, Vietnamese, Esperanto, and many other languages to the database to accommodate game submissions.

From gallery of W Eric Martin

25. Release date: The idea behind the release date is that we want to list the date when this game was or will be first available to the public at large and not available to a select few who receive a game via Kickstarter show up at a convention months before the game is available to everyone else. Yes, Five Tribes debuted at Gen Con 2014, but does the availability of two hundred copies count as a release? Not in our eyes, which is why we list the release date as September 2014.

For the release date, if you have only the year, use the pulldown menu to put in the proper year; if you know the month as well, use that pulldown menu; if you know the precise day, add that detail, too. If instead you know only a range of months — say, "Jul/Aug 2015" — or the quarter — e.g., "Q3 2015" — that a game is due out, then use the "custom override" box and put that date information in place.

One thing you shouldn't do — and I'm surprised that publishers still do this — is use a season in the release date, such as "Spring 2020". For me, that term means sometime between late March and late June 2020; for someone in the southern hemisphere, however, that term means late September to late December 2020 — which is probably not what the publisher had in mind. If I've learned one thing in the fourteen years that I've been doing this, it's that if a gamer knows of a game that sounds interesting, that gamer will often make an effort to acquire, no matter where that game originates. Thus, publishers should make clear to all of their potential customers — that is, everyone on Earth — when their games will be available, and that means avoiding release dates based on seasons.

26. Release comment: Use this section to note extra details about a game's release, such as "Debuting at Gen Con 2015" or "Releasing in Europe in Aug 2015 & in North America in Oct 2015", to help other users know when they might be able to play the game in question or get their hands on it.

27. Release status: Is a game available to the public at large? If so, it's "released"; if not, it's "unreleased". A game sold via Kickstarter or at a convention is not considered released unless the game won't have a retail release.

28. Pre-order type: Typically this section is for a publisher that is running a crowdfunding campaign or taking pre-orders through its own website prior to a game's release. If someone completes this field and the next three pre-order fields, then a pre-order link will show in the "Official Links" section below the game's description; if one of these fields is left incomplete, then no such link will appear.

29. Pre-order URL: This is the URL of the crowdfunding project or the publisher's website where pre-orders are being taken. (We treat crowdfunding projects the same as pre-orders because from our point of view they function the same way: You pay money in advance of the game being available with the expectation of receiving the game at a later date.)

30. Pre-order start date and Pre-order end date: As I just mentioned, both of these fields need to be completed — all six pulldown menus — in order for the pre-order link to appear on the game page itself. No, six pulldown menus is not ideal, but that's what we have.

31. Note to admin: So much stuff could go in this space: URLs to an announcement on a publisher's website or a designer's Twitter feed or a retailer's game page, alternate names in different languages since you can submit only one name for the game, additional details about the release date, notes that you've submitted the designer or publisher details separately, clarification that you're the designer or publisher so you know what you're talking about, and so on.

32. Click the "Save" button. Yes, we're finally there. Click that button already.

•••

What next?

So are we done yet? Well, you're done — or at least you might be done. Once you submit something, the name of that submission will appear in one of the "item pending" queues that I linked to earlier. At some point a BGG admin will review the submission, then ask questions of you to clarify information that's unclear; approve the submission as is; skip over the submission because they have only a few minutes between other tasks and isn't clear whether they can approve this or not; add information based on what they've seen somewhere; or some combination of these.

In most cases, the game listing is approved first, then the designer/artist/publisher listings are approved later by a separate admin who has handled these things for a while and has kind of adopted these sections of the site. Once a game listing is approved, users can then submit images, files, web links, forum posts, and so on. (Here's an overview from Feb. 2019 of how to submit images, then propose them for the representative image slot on game pages and version listings.)

That listing will join more than 117,000 others in the database, and in most cases it will barely be seen again, at least by the majority of the people who use the site. For some users, though, they will carefully monitor the page, possibly even subscribing to it so that they can answer rules questions or see what reviewers have to say. Every game is somebody's baby...
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Game Preview: Dragon Gyas, or Chopping Down Giants

W. Eric Martin
United States
Apex
North Carolina
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Board Game: R-Eco
Board Game: R-Eco
Susumu Kawasaki's card game R-Eco was a revelation to me when I first played it in the late 2000s.

The subject matter of the game — recycling — is tightly integrated into the gameplay, with you delivering four types (colors) of recyclable products (cards) to four factories and picking up the raw material waiting at the other end of that factory. When a factory has enough product on it, the factory clears and the player who added the final amount scores a token from this factory, with the points for these tokens generally increasing over time. You score for a color only if you have at least two tokens in that color, and if you collect too much raw material in your hand, you lose some of it as negative points.

R-Eco is brilliantly designed, being thematic and highly interactive with lots of meaningful choices in a twenty-minute timeframe, and I'm dumbfounded that the game is no longer on the market.

I've enjoyed other Kawasaki titles over the years — Master of Rules, Robotory, Gauss, Stack Market, Traders of Carthage/Osaka, Discovery of World Ruins, and more — and I'm amazed at the breadth of both subject matter and game styles present in his catalog.

Board Game: Dragon Gyas

Now Kawasaki has a huge project in the works courtesy of co-publishers Arclight and Max Factory: Dragon Gyas, with "Gyas" being pronounced with a hard "g" and a long "ee". Here's an overview of the gameplay:
Quote:
While Dragon Gyas can be played by 1-4 players, the game is primarily designed to be a two-player game in which one player represents the Hexgyas and its seven supporting knights while the other player controls the Grandragon and its seven Dragonewts. All of the characters are represented by both miniatures and cardboard standees with you choosing which to use.

The Hexgyas and Grandragon are much larger than the other characters, and they're the most important figures because if you lose your main character, then you lose the game.

Board Game: Dragon Gyas
Grandragon figure

To set up, players choose a starting configuration for their large figure and seven smaller ones on their half of the game board. The Hexgyas and Grandragon stand in one of the five large hexagonal spaces, while their supporting characters occupy the smaller hexes that form a network around these larger hexes. Each player positions three pieces of armor around their large figure, designating two other positions around their perimeter as a weak spot and a critical weak spot. Players also customize a control deck for their large character with three attack cards and three special cards that are added to their six movement cards.

Board Game: Dragon Gyas
Mock-up components and game board; I laid down the cardboard standees for easier viewing

The game lasts at most five rounds, and each round consists of four phases. Players first choose initiative from a hand of five initiative cards and program three control cards for their large figure. During the control phase, players carry out their actions, moving their large figure and attempting to inflict damage on the opponent. The command phase allows the supporting characters to attack one another, but also to infiltrate the opponent's giant to discover weak spots and possibly inflict damage or pull control cards from their hand.

Deal ten damage to the opponent's larger figure, and you win instantly. If no one has been taken down after five rounds, then the Grandragon wins, having overcome the initiative advantage wielded by the Hexgyas.
Board Game: Dragon Gyas
A sampling of the game's dragonewts

I'll note that I received a mock-up version of Dragon Gyas in order to preview the game ahead of its June 2020 Kickstarter campaign (KS link), and the components shown in this post and the video below are from that copy of the game. The miniatures might be final and produced, but the cards, game board, and other components are not production quality. (BGG and I have received no compensation for this preview. I'm a Kawasaki fan, so I was curious to take a look at the game, even though it's outside my normal gaming wheelhouse.)

To fill out the overview above in more detail, at the start of the game you craft a deck from the cards available to you, giving you a deck that suits your playing style while also not allowing you to have access to every possible counter to what the opponent does and to whichever situation you happen to be in. The attack and special cards often have a cost, with a colored circle being one of your life points and a circle with a black dot being an exhausted life point. It's perhaps odd that you'd choose these cards given that you must be damaged in order to use them, but after having played two games (both with two players), I can guarantee that you're going to be damaged plenty, so you'll have those resources to spare.

Board Game: Dragon Gyas
Mock-up cards for the Hexgyas player

The Grandragon has ten life points, while the Hexgyas has seven life points and three soul points. The difference in these tokens comes into play with deck choices since some of the Hexgyas cards require an expenditure of soul (or exhausted soul) in order to play them. Additionally, in the right circumstances the Grandragon can sometimes hit for an additional soul damage on top of other damage — and while extra damage is usually good, if the Hexgyas player has the right card in their deck, they can use that damage to power up.

Dragon Gyas includes a mix of programming and tactical battles, with the programming taking place when you lock in three control cards to determine what your large figure will do on a particular round. Guess poorly, and you'll shoot fire at nothing while the enemy rains blows upon you (or also shoots at nothing). My approach in these types of games tends to be of the wasting turns variety with me being unable to anticipate what someone might do. Part of the issue, of course, is that if you don't know which control cards the opposing player has, then you can't anticipate what they're trying to do — and even if you do know all of the possible cards, that player is using only some of them, so you still won't really know what's possible until they use it against you.

Board Game: Dragon Gyas
A sampling of the game's knights

At the end of a round, you discard the three control cards you played, then take any two cards from your discard pile back into your hand. Want to keep a certain attack card? Then you might have to lose the ability to step right. Which cards will you choose?

The tactical battle aspect of the game comes from the conflict of dragonewts and knights during the command phase. Depending on the initiative cards played, players might each have four actions (in a 2-2-2-2) pattern, might have 4-3 actions (2-2-2-1), or might have 5-3 actions; in this latter case, the player with an initiative advantage of at least 7 takes all five of their knight/dragonewt actions prior to the opponent, giving you the chance to chain together moves, effects, and attacks. Each knight/dragonewt has two different effects, and after moving a figure you can use one of its effects.

The video below gives detailed examples of both the programmed movement and the tactical battles, in addition to other aspects of gameplay:

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Wed Jun 3, 2020 9:46 pm
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Designer Diary: Abandon All Artichokes, or a Heartless Card Game

Emma Larkins
United States
Washington
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Microbadge: Abandon All Artichokes fanMicrobadge: Game DesignerMicrobadge: I drink espresso ... WHEEEEEEE!!!!Microbadge: Donuts fanMicrobadge: Heartcatchers fan
Board Game: Abandon All Artichokes
What did artichokes do to deserve this? What could anyone possibly have against them? What kind of existential crisis inspires the consternation of this particular edible flower bud?

Well, friends, buckle up because I'm here to take you on an Abandon All Artichokes journey of mythical proportions from name-first design to pitching, from mechanical development to design philosophy musings, from playtesting to publication and beyond.

What's In a Name?

In July 2017 I issued myself a challenge (dubbed #gamedesigndaily) to improve my skills as a game designer. My goal was to do one design-related thing (no matter how small) each day, for example, play a board game, brainstorm a game concept, or take a picture on my daily walk to inspire creativity.

Enter the Alliterative Game Name Challenge. I wrote the list on my bus ride to work, and later posted it on Twitter:


The names were fun and goofy, but had no mechanical underpinnings — and yet someone responded to my tweet with "Can I pre-order Abandon All Artichokes?" My initial thought was "It's not even a game! There's nothing there! It's just a silly name that I came up with on the bus!" Nonetheless, the seed was planted, and slowly took root.

Three months later...

Game-a-Day Prototyping

...I was still going strong with #gamedesigndaily. At the end of October 2017, I issued myself a particularly tough challenge: design a game a day for a week. I made sure to set the bar for these designs low; the purpose of this challenge was not to come up with seven amazing games, but instead to hone my rapid prototyping skills.

With the clock ticking, I latched onto a name from the past for one of the designs: "Abandon All Artichokes". There was no time to ponder how a game called "Abandon All Artichokes" might function mechanically, so I went with the first mechanism that popped into my head: deck-building. You get rid of cards in a deck-builder, so it meshed well with this idea of "abandoning" the artichokes.

Next, I wanted to come up with at least a semblance of a theme. Well, the artichokes were there already. Why not throw some other fruits and vegetables into the mix? And why not put funny faces on them, just for the heck of it? No big inspiration there — I'm just a big fan of adorable faces on food.

And thus, a prototype was born.


Core Game Structure

From the start, I wanted Abandon All Artichokes to be something that kids and families would enjoy, but with enough strategy that I could play with my gamer friends.

From gallery of emmalarkins
The win condition emerged naturally and is one of my favorite parts of the game. Instead of having to count up points, you simply check for Artichoke cards every time you draw at the end of your turn. No Artichokes = WIN! As you cull Artichokes and add non-Artichoke cards to your deck, you naturally progress towards the end state. However, you don't know exactly when it will occur, which is a hallmark of an engaging game.

I decided on a limited set of card powers (as opposed to mostly unique cards) and a dynamic market (instead of always-available piles of each card type). Pineapple let you blow up an opponent's hand, forcing them to discard one or more cards using an adjacency effect. Broccoli shielded you from Pineapple attacks. Strawberry trashed cards to remove them from your deck. Banana drew cards.

That was the whole game, at the start. I like to point this out because a lot changed over time, but right from the beginning, there was a simple, core loop of fun that felt worth pursuing.

The original prototype didn't emerge from my brain as a shining diamond, however. Many things either immediately got the axe or took a while to weed out.

Far From Perfect

At first, the adjacency effect of the Pineapple felt like the biggest innovation. Very early on, however, it proved too chaotic for Abandon All Artichokes.

The Artichokes acted as a currency in the original version. Instead of getting a card for free each turn, you'd have to "spend" (discard) an Artichoke to purchase a card from the market. This slowed the game down because you couldn't get rid of your Artichokes as quickly if you kept discarding them from your hand.

The game had a good hook, but there wasn't yet a lot of meat to it. It would need a lot of development to get it in working order, but I didn't have a ton of time to spend on iterating because...

From gallery of emmalarkins
Abandon All Artichokes Hits the Road

The first PAX Unplugged was in less than a month. As someone who loves PAX and loves board games, I already had my ticket. I wanted to bring a new game to demo and figured that out of all my prototypes, Abandon All Artichokes had the most potential.

I did a quick art pass using clip art from Etsy. (Rule of thumb for new designers: Don't spend a fortune on prototype art, and don't steal art from the Internet.) Then I added the names and the powers to the cards, and I was ready to go.

Next I had to decide what to do with Abandon All Artichokes at PAXU, so I signed up for an Unpub table. (Shout-out to Unpub for being an awesome place for playtesting games.) I also figured I'd send a few pitch emails. It would be good practice, even if no one responded. I used the Cardboard Edison Compendium to find publisher contact information and cross-referenced that with the PAXU floor plan to make sure the publishers I was interested in would actually be at the show. I chose Gamewright because of my long-time love for their games (I figured I'd be able to play up the "food with faces" angle), in addition to a handful of other publishers.

Much to my surprise, despite the newness of the prototype, the response was positive! I credit my marketing background as right from the start, I had pitching on my brain. I wrote these notes less than a month after making the first prototype.

From gallery of emmalarkins
Early pitch notes for Abandon All Artichokes, November 2017

I kept the following in mind as I composed my pitch email (below): keep it short; images sell; have a good hook; and understand the publisher's products.
Quote:
I'd love to meet you and your team at PAX Unplugged, where I'll be pitching my light, fast-paced deck building game Abandon All Artichokes.

Attack your opponents with pineapples. Hit an artichoke with a pineapple to do triple damage!

External image


- Fast-paced
- Easy-to-learn
- Reduces deck building to its simplest components
- Funny theme
- Strategic
- Take that mechanic makes players consider card placement within their hands

Do you have time for a meeting? Happy to come by your booth if that's convenient. Love to stop by and say hi even if this game isn't a fit — I'm a big Gamewright fan, and Sushi Go! and Go Nuts for Donuts are my jam.
Playtesting at the Show

Playtesting was my main goal. I've always been a huge proponent of testing, and although I'd received some publisher interest already, I had no illusions that the game was done.

From gallery of emmalarkins
"Playtesters putting bought cards into hand instead of discard. Maybe this is okay!"

Testing proved fruitful throughout the show. For example, one player suggested that instead of "trashing" cards (a terminology common in deck-builders) you'd "compost" them.

I watched players take cards from the market directly into their hands instead of putting them into their discard piles (another common deck-builder trope). I wanted to lean into natural player behavior to make the game as intuitive as possible, so instead of fighting against these instincts, I decided to incorporate them into my game.

I also observed as one player in particular "broke" my game by making an Infinite Potato Loop using card draw.

From gallery of emmalarkins
"Will fix infinite potato."

Drawing cards in a deck-builder is an incredibly delicate power, and this started my long fight with the ability, eventually leading to cutting it completely.


Unpub was fantastic, the testing went well, and even with this incredibly early iteration I saw positive player feedback: smiles, laughter, and email list sign-ups — all good signs that I was on the right track.

Publisher Meetings

From gallery of emmalarkins
PAXU, at least in its first year, turned out to be a great event for engaging with publishers. I'd been to Gen Con a few times before, and there is so much going on that it can be hard to get a publisher's attention. PAXU was chill enough that I was able to set up some in-person meetings by handing out my card. My card has my picture on the back of it, so it was easy for people to find me.

I stopped by the Gamewright booth with my sell sheet and rules, as requested, and shook hands with Jason, but didn't actually demo. I did have a chance to sit down and play the game with a couple of publishers, and the response was surprisingly positive.

Initial Impressions

Jason emailed me back that the rules looked interesting, and he wanted to see a prototype. I sent it off December 2017.

Jason later revealed to me that he knew from the beginning that Abandon All Artichokes had something special to offer, but at the time I had no idea. Here's his response to my first prototype:
Quote:
I love the premise and can certainly see the potential here. I'd say the main sticking point is that it may be a tad too difficult for your causal, "never played a deck-builder before" player... Not sure how interested you would be in tweaking the game to address some of these issues, but if so, I'd be happy to give it some serious reconsideration.
That was good enough for me! It's exactly what I was looking for — someone interested in giving me focused feedback and passionate about making the game the best it could be.


Early Development

There's no secret path I took as I started developing Abandon All Artichokes. I didn't have a clear plan of "change x, y, and z, and then it will be done." I simply put in the hard work of iterating on card powers while maintaining the core elements of engaging play that I'd identified in the first prototype.

These are the core design philosophies that guided my practice:

1. Follow the Feedback: It can be incredibly tough for a player to put their experience into words, making it difficult to distinguish between what a player says and what they actually mean. "Following the feedback" doesn't translate to "make every change playtesters suggest". It means observing and tracking the sum of play experiences over time and not ignoring how someone feels just because it's not something you want to hear.

From gallery of emmalarkins
2. Design for Delight: I learn a lot by watching people's faces. A sudden smile, a look of shock, a shout of triumph — these are the things I want to inspire. My goal was to make a game that people would discuss in excited tones during play and even after the game was done.

3. Break down Barriers: I wanted Abandon All Artichokes to be as approachable as possible. This meant leaning into players' instinctual actions and removing rules that went against their natural inclinations.

4. Players are Powerful: Although I wanted to make my game approachable, I also wanted continual, interesting actions. I didn't want the game to get boring after a few plays. That's where the obsession with tweaking and balancing cards came into play.

Growing with the Seattle Tabletop Game Design Community

I launched a local, weekly playtesting group in Seattle right around the time I started working on Abandon All Artichokes. (The idea for the group actually came out of discussions at PAXU.) However, there were already designers doing awesome things in Seattle: Joseph Z. Chen and Justin Faulkner launched their Fantastic Factories Kickstarter in May 2018. Local Point Salad designers Molly Johnson and Shawn Stankewich were also an important part of growing the group, along with Rob Newton (Shuffle Grand Prix), Victoria Cana and Alexandre Uboldi (Gladius), not to mention a dozen other designers who you'll see popping up here on BGG in the near future.


The group had (and continues to have) lots of great energy. I never would have polished Abandon All Artichokes without getting to test it with my fellow designers on a regular basis. Everyone in the group was so positive, always excited to test the game and pushing me to get it published already so they could buy it!

Moving Along

I sent another prototype to Gamewright in May 2018 and scheduled a meeting at Gen Con 2018.

The conversations with Gamewright evolved over time. As I continued to make positive changes, they got more excited, and we had more in-depth conversations about the individual cards and powers.

You've never lived until you've chatted for half an hour about whether or not Broccoli is overpowered and how it should be nerfed.

Closing in on the Goal

Weekly playtests with game designers can help to hone a game, but it's also important to get the prototype in front of new players from time to time. I had a great reception showing the game at PAX West 2018.


My pace varied over time, but I continued to slowly hammer away at the design. The more I tested, the more I realized that I needed to find a really solid pool of card powers. Cards needed to generally be good early game and late game; cards needed to generally synergize well with each other. At the same time, we wanted to have a few different strategies emerge for players to be able to pick a play style that suited them.

Most of the development involved playing around with all the zones of a simple deck-builder — active player's deck, hand, and discard pile; the market, a.k.a. "Garden"; the market deck; other player's decks, hands, and discard piles; and the trash pile, a.k.a. "Compost" — as well as combining different actions available in a deck-builder: drawing cards; discarding cards; adding new cards to your deck; trashing, a.k.a. "composting" cards; shuffling decks; and interacting with other players. Every time I made a new set of powers, I'd have to rebalance every existing card. Some cards stayed much the same throughout development, but some cards had upwards of ten iterations before we landed on a final ability.

A few key mechanical learnings:

1. Costs without Currency: Most deck-builders use points, money, or both to balance card powers. Often, cards will have a "spending power" for acquiring other cards. A very powerful card will cost more to purchase. A card worth a lot of points might not have any other mechanical effects. Without having these things to play around with, I had to invent other types of costs, such as: discarding an Artichoke, taking a risky action that might not result in progressing the game, putting a useful card in someone else's discard pile, taking only one action on your turn, having to demonstrate a certain composition of cards in your hand, etc.

2. Denying the Draw: Card draw is essential to a deck-builder. One of the key elements that distinguishes a deck-builder from other types of games is the constant drawing, discarding, and reshuffling of a player's personal deck. Purchasing cards that allow you to draw more cards accelerates your engine. Drawing cards is also fun! Abandon All Artichokes started out with card draw, and it took a long time for me to remove it. I never found a way to cost the cards that didn't make drawing more cards too valuable, even if you drew two cards and gave one to an opponent.

3. Balance, not Boredom: As I iterated on card powers, I went through many dramatic versions and many boring versions. Some of the most frustrating playtests were the ones in which I was sure I'd "perfectly balanced" the cards. Turns out that the best prototypes had a balance of "exciting" and "boring" cards. Take the Potato card (my personal favorite), for example: "Reveal the top card of your deck and compost it if it's an Artichoke." Every Potato is full of excitement! Compare that to the Broccoli card: "Compost an Artichoke if your hand has three or more Artichokes." No matter which way you slice it, there's just not much to that card. It's great early game, not so much late game. Sometimes you just can't do anything with it. I played the game recently and couldn't resist teasing my friend for choosing a Broccoli-heavy strategy, but you know what? He won the game!

Let's dig into a couple of card evolutions to get a sense of how some Abandon All Artichokes powers evolved over time.

From gallery of emmalarkins

Potato Evolution

Remember what I said about card draw? Look at the power on that first Potato: "Draw two cards." DRAW TWO CARDS. What was I thinking?!?

I love how the changes in this series of cards represents me coming to terms with pulling the weed of card draw from my game. I reduced the power by changing it to "Draw a card. Compost if it's an Artichoke." Eventually I did away with drawing and just had players compost the top card of their player decks. I loved the chaos of this card, but it ended up burning through the deck too quickly. Eventually I settled on "Reveal the top card of your Deck. Compost if Artichoke, otherwise discard it." The final form of this power struck a great balance between the exciting reveal of the top card of your deck and not reducing your deck to zero cards too quickly.

Beet Evolution

I don't want to go over every step in this evolution, but I wanted to point out how two similar card effects merged into one.

One of the core design directives from Gamewright was to encourage player interaction. It took many, many iterations to find a steal effect that didn't feel too punishing for the person being "attacked", especially after I removed the ability to block attacks.

From gallery of emmalarkins

Eventually, I merged the Banana steal effect with the Onion "two players reveal a random card" effect to arrive at the final Beet power: "You and an opponent each reveal a random card. Compost both if Artichokes, otherwise swap them." If you play this early in the game, chances are good that you'll help someone out by getting an Artichoke out of their deck. This ended up softening the potential steal effect just enough to make a "take that" action not feel too bad.

Dark Night of the Soul

It's important to share this part of the designer journey because things aren't always sunshine and roses. Bringing a game design to life can be incredibly emotionally taxing at times, and it's good to talk about that.

I got stuck in development a few times, and yes, it was incredibly frustrating. However, after accepting the frustration, I'd make some wild changes to the game, like playing all cards face-up in front of you or having people swap their entire hand with another player. Most of these drastic changes didn't make it into the final game, but they helped to get me out of design ruts.

I also found myself declaring multiple times that "The game is finished!" when there were still, unbeknownst to me, multiple months of development time left. The more experience you get as a designer, the better you get at estimating development time. Still, sometimes you really just need to take the time to explore all the potential things a game could be if you want to make a really good game.

From gallery of emmalarkins
142 things, to be exact!

For a lot of the early development, I was going to conventions, constantly tweaking the game, getting a lot of good feedback. I hit a bit of a wall at the end of 2018 and didn't talk much about the game on social media for three months. At a certain point when you're developing a game heavily, there just isn't going to be any exciting news to share with your community. "I changed the phrasing on a card from 'draw' to 'reveal'!" No one will ever be close enough to your game to understand all the subtle complexities, all the seemingly minuscule modifications that you agonize over. Designing a game can get lonely, at times.


Closing In

I got to play Abandon All Artichokes with Gil Hova (designer of The Networks and other fine games) at the GAMA Trade Show in early 2019. Gil (who I now host the Ludology podcast with) was one of the first designers who took a chance on testing my games back in 2015, and he has always been an incredibly sharp and insightful person to work with. I was happy with this latest version of the game, and it felt really good to have his support.

That was the first moment when I felt 100% confident in the future of my game.

Picking a Publisher

Board Game Publisher: Gamewright
Gamewright was a dream publisher for me. I love their games, I love how cheerful and upbeat their booths are at conventions, I love their approach to the joy of play. I had strong interest from other publishers who I pitched to because Gamewright seemed like a long shot, but ultimately I decided I was going to wait it out to see what Gamewright would decide.

It's an interesting choice to make as a designer. You'll often have your prototype out with multiple publishers at a time because it can take months (or years!) for someone to agree to publish your game. You might really want to work with someone and have to make a tough choice over turning down a yes from a different publisher. You do have the option, if you receive an offer from one publisher, to approach your other potential publishers and ask for a counter-offer, but that can feel terrifying as a new designer.

So I made my choice and waited.

They Said Yes!

Throughout the development of the game, I had a strong internal sense not of what the game would look like when it was finished, but of direction. Sometimes during a playtest, you can sense the game getting better; sometimes you can tell your changes have made it much worse. Ideally, as time goes on, you're breaking the game less, and it starts to feel solid and consistently play well with new and existing players.

After a lot of uncertainty at the end of 2018, I came into 2019 feeling like this game could definitely get to a really good place. Not every game a designer makes gets there — some you just can't figure out how to move forward — but I was committed to seeing Abandon All Artichokes to completion, and though I wasn't sure exactly where the finish line was, I felt it was close, so I mustered my courage and sent Gamewright a strongly worded email (not really!): "Overall I feel like the game is in a good place now. I'd love to discuss next steps for publication as we continue tuning."

Their response:
Quote:
Overall, the game seems to be in fine shape and I think it will make an excellent addition to the Gamewright line.
It took my breath away. With those few short words, my life changed forever.

Working with Gamewright

I felt confident after my frequent communication with Gamewright that we would work well together.

The reality was even better than I expected. I couldn't have asked for a better publisher relationship. Because we'd gone back and forth a lot before signing a contract, we knew that we were going to make something together we'd be proud of.

We signed the contract at PAX East 2019.

Finishing Touches

Later that year we ramped up on getting the final game into production. Gamewright worked with me every step of the way. We were testing the game on both ends, sharing feedback, and getting the game into its final form.


Getting to see the art in September 2019 was one of the highlights of my year. I couldn't have asked for a better artist than Bonnie Pang to capture my vision for the game.

From gallery of emmalarkins
Love at first sight

Not every game designer loves writing and editing rules, but I loved being able to put my technical writing background to work to help with the rule book. It was important to me to ensure that when people opened up the game, they'd be able to figure out how to play.

It Lives!

Publishers vary a lot in how they announce games. For Gamewright, they generally prefer to just say, "It's here!" (as opposed to doing a months-long build-up). I wasn't sure exactly when it would drop. I really, really wanted to talk about it, but I figured I could stay patient for a little longer.

And then, news started to pop up. The game was first announced in Issu.


I didn't get to see the game in-person at Toy Fair 2020 in New York, but luckily I had friends there who sent pictures of the game in the wild for the first time.


Posts started showing up in different places, like right here on BoardGameGeek.

Finally I got to hold the game for the first time at PAX East 2020, exactly one year after the contract was signed. It was an amazing feeling — awed and excited and happy and release of all the pent-up expectations, all at the same time.


I had the opportunity to play the finished game with PAX East attendees, which was awesome, but it was also great standing off to the side and watching surreptitiously as new people played the game for the first time. I was already seeing what I had dreamed about from the beginning — people new to deck-building getting excited about this (for them) new type of game. Two people in particular came back to play a few times, excited to tell me how the concepts in the game were coming together for them and they were starting to see how the different powers fit together. I was witnessing someone's entry into a new style of gameplay for the first time, and it was beautiful to watch.

The reception at PAX East and beyond was positive as people started to receive their copies.

Abandon All Artichokes was listed as a "brilliant game" in Forbes, which was quite a trip.

By mid-March 2020, Abandon All Artichokes started hitting retail and online stores. I loved being able to see friends and people in the industry get their copies. Our community is very supportive, and I love seeing my friends succeed, but I emphasize that I don't want people buying my game unless it's something that they really think they'll enjoy. It's such a heartwarming experience to see your friends actually playing and loving the things you make.


In Conclusion

It's a game now. It's real. People are in the world, playing and sharing and enjoying and talking about it, and it's such a trip to see.

Want to learn more? Check out this "how to play" video from Gamewright!

Emma Larkins
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Tue Jun 2, 2020 2:35 pm
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Designer Interview: Julian Courtland-Smith, creator of Survive: Escape from Atlantis!

Neil Bunker
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Board Game: Survive: Escape from Atlantis!
[Editor's note: This interview was first published on Diagonal Move. —WEM]

Survive: Escape from Atlantis! designer Julian Courtland-Smith joins Neil Bunker from Diagonal Move to discuss his remarkable forty-year career designing board games:

DM: Hi, Julian, thank you for joining us. Please can you tell us how you got started in game design?

JCS: When I was a child I loved playing board games. After I left school, I went into catering. Didn't care for it so went on to art college. I wasn't sure what I wanted to do, probably architecture. In 1965, whilst I was making up my mind as to what direction to go in, I read an article in a magazine about games. It was by Waddingtons, publicizing their new product Mine A Million. That was the moment I thought I can do that and become rich and famous! Ha! Easier said than done!

My first design was a world domination game, akin to Risk. Looking back, it was rubbish. Well, you have to start somewhere. I worked in retail management and spent my nights and weekends inventing numerous games. However, it was 17 years before I had a game accepted.

From gallery of Bunkelos Board
An early press photo

DM: Survive: Escape from Atlantis! is your most well-known game. Where did you draw inspiration for the game from?

JCS: After I'd invented Lost Valley of the Dinosaurs I was looking around for another strong theme when I chanced upon a row of books in my local library all about the island of Atlantis. These inspired me to devise a game with a sinking island.

DM: Can you elaborate on the design process?

JCS: My first attempts at devising "Escape from Atlantis" didn't really work as I drew the island on the board. During play, the island was slowly covered by sea tiles to effect sinking. When tokens were moved across these tiles, they all shifted and knocked down other meeples like men in boats. It was two years later before it dawned on me to change the sea tiles to land tiles. That way the island could be removed piece by piece from the board during play to simulate it sinking. I called the game "Escape from Atlantis" as the title summed up the game's objective.

DM: How did you get "Escape from Atlantis" to market?

JCS: I took my 2D prototype to Graeme Levin, owner of Games & Puzzles magazine. He became my agent and showed it to Parker Brothers. They liked it and made it their lead game in 1982 in America. They changed the name to Survive! and altered the game in a number of ways. It was advertised coast to coast in the States and sold very well. At the time Survive! was selling 14,000 copies a week compared to Monopoly's 12,000.

Unfortunately, computer games came out and the winter of '83 saw a massive 80% drop in the board game industry as people were buying the new computer games. Board games bounced back a couple of years later but never recovered their dominance in the market. Parker Brothers dropped the game, and it dragged on until closeout a few years later. In 1986 Lost Valley of the Dinosaurs was launched in the UK. It did very well, coming in at #2 to Trivial Pursuit in the bestsellers list. I remember saying it would never catch on. What do I know!

Waddingtons phoned and asked if I had another 3D game. I confidently said yes! I had two weeks to turn Survive! (2D) into a 3D game. I remember sawing up a wooden hoe handle to make the island's land-tiles. Waddingtons launched their 3D version of Survive! and agreed to call it Escape from Atlantis!

From gallery of Bunkelos Board
An early photo of Survive!

DM: Survive! has been an incredible success and is still available 38 years after its original release. What do you attribute this success to?

JCS: When Survive! was launched there was nothing like it on the market. Starting off in the mass market gave it great impetus. The turbulent years of the 1980s/90s when companies were either going under or being taken over meant I was constantly taking my prototypes from one company or another. I knew to be financially successful that I needed a major manufacturer to market the game, hence I only dealt with the top five companies in the world. I had many offers from smaller companies but decided to hold out for the big one. When Hasbro took over Waddingtons in the 1990s, I submitted my game to them and they relaunched Escape from Atlantis into Europe in 1996 under the Waddingtons brand.

The game ran until 2002 and was off the market for a number of years. Meanwhile, Survive! reached #1 in the secondhand board game market. Stephen Buonocore of Stronghold Games in the USA was looking to relaunch popular retro games. He saw copies of Survive! trading on eBay for up to $100. He thought if there was that much demand for this game secondhand, perhaps there's a market for a new product. He became my new agent, and in April 2010 announced that Stronghold Games would be reprinting a new version of the game called Survive: Escape from Atlantis!

Board Game: Survive: Escape from Atlantis!

The game was launched on October 10, 2010. In June 2012, Stronghold Games relaunched a new edition, Survive: Escape From Atlantis! – 30th Anniversary Edition, which is still on sale today. It included refreshed artwork and a slightly revised theme. Simultaneously, French publisher Asmodee licensed the EU languages and launched The Island, which is the same game as Stronghold's version but with a rebranded name for EU trademark purposes only.

Yes, my game has done the rounds with a lot of publishers. End of the day, it's the public who decide. I'm pleased and grateful that games players today enjoy playing Survive! I get messages from fans who say they enjoyed the game in their childhood and are now playing it with their children and grandchildren. I'm pleased Survive! has lived up to its name.

DM: What influence do you think the success of Survive! has had on the games industry?

JCS: Games evolve just as art, music and literature do. Each new artist, author, or designer is influenced by preceding works. Good games, popular games have always been copied.

There are a number of games out there which appear to be influenced by Survive! Catan (1995) comes to mind as does Forbidden Island (2010). I think the biggest change Survive! brought to the market was hexagonal spaces on the board, thus allowing tokens more efficient movement. Before then, you saw hexagonal spaces only in war games.

Prior to my games, there were countless Monopoly-style variants where you commenced play from one corner and went round the edge of the board or track rolling dice. This trend had continued from Victorian days. I wanted to break out of that niche and use the whole board in play.

I do believe the same level success can be repeated despite market saturation that has occurred following the advent of Kickstarter. Survive! has remained successful because the play mechanism hasn't dated. Being the first such game, this style of board game has endured. Someone will come along one day with fresh ideas and usurp the market, then we'll see a whole new trend emerge.

From gallery of Bunkelos Board
A cover star in 1986

DM: Did the success of Survive! change your life?

JCS: Guess so. It was literally a rags-to-riches story. Prior to the success of Survive!, I was broke and unemployed, scratching a living doing odd jobs, but I persisted with my dream. Following the success of Survive!, I became a full-time designer and moved with my family from a three-bedroom council house to our five-bedroom country house. Whilst there, Waddingtons launched Lost Valley of the Dinosaurs, followed by Escape from Atlantis. The government wanted to tax me at 60% which was crippling, so we emigrated to Eire. We stayed there awhile, and in 1987 moved to the beautiful Isle of Man.

DM: You designed Lost Valley of the Dinosaurs before Escape from Atlantis. Can you tell us more about that game?

JCS: I invented Lost Valley of the Dinosaurs in 1979. I got the idea whilst standing on a London Underground station waiting for a train. On the wall was a poster advertising a dinosaur exhibition at the Natural History Museum. That was my eureka moment. I thought great idea for a game! I was highly influenced by Sir Arthur Conan Doyle's 1912 book The Lost World.

Inspired, it took me just two weeks to invent the game, six weeks to write the rules, and six years to get it to market. Before Waddingtons took the game I approached a number of manufacturers. I remember a Dutch company turning it down as it was "racist". At that time the men in the jungle were represented by small black Halma pieces, so I changed them to small white Halma pieces and called them Incas. Initially, the pteranodon in the game was a picture on a card. One day, I chanced upon a retailer selling small plastic pteranodons. I introduced that to the game as a playing piece. Waddingtons turned this bird into a moving toy, and it became a big hit with the kids.

Board Game: Lost Valley of the Dinosaurs

DM: How was the design process for Lost Valley of the Dinosaurs different from that of Survive!?

JCS: I was six years trying to market Lost Valley of the Dinosaurs. During that time the game was extensively playtested by my family and friends until it worked perfectly. There was no pressure back then to deliver another game as games contracts were always one-offs, unlike books. When new authors get their first book launched they will normally sign a contract to produce more. With games you're only as good as your last but your reputation does get you interviews.

Games manufacturers of old retained artistic control. You were lucky if you got your name on the box! The first print runs of Waddingtons' Escape from Atlantis, which were 25,000 copies, did not give me any accreditation, even though it was written into my contract. Later, after a fuss, they agreed to mention me in the rules. Companies would, if they so chose, alter the rules or change components. The swirler dice in the Waddingtons Escape from Atlantis game was included by them, but to be fair, it proved popular with children.

By and large, Waddingtons' Escape from Atlantis didn't differ too much from my prototype, but Lost Valley of the Dinosaurs was radically altered. I was trying to break with tradition and designed the game with no dice. Waddingtons decided to include dice as they reasoned children like to roll dice. They also made a number of other changes, which is why I always say Waddingtons' Lost Valley of the Dinosaurs is their version of my game.

From gallery of Bunkelos Board

DM: Are there plans for a Lost Valley of the Dinosaurs re-release?

JCS: I have been approached many times over the years by companies wanting to market Lost Valley of the Dinosaurs (LVD). In 1987 I divorced. My wife and I agreed to split ownership of all the games I'd devised during marriage. Hence, she retains copyright to LVD whilst I own EFA. My ex-wife has indicated that she would be open to offers, but that she wants the game marketed as it was originally designed.

Publishers always want to input their creativity which can be an improvement or not. As I said, Waddingtons' Lost Valley of the Dinosaurs was nothing like the original. I tend to agree with her. Had LVD been marketed as invented, I believe it would still be around today as in its original form, it's better suited to the hobby gaming market.

DM: What other games have you designed, and do you have plans to release any others?

JCS: Too many to list here. I've designed well over fifty games to date.

I did produce a third game in my adventure trilogy called "Mammoth Mountain". The game has a strong theme which includes prehistoric animals of the period like woolly mammoth, sabre-toothed tiger, and so on. The game involves armed conflict between tribes fighting for survival whilst the world is slowly freezing over. When I presented it to Waddingtons, the games industry was in turmoil. Waddingtons were facing extinction therefore weren't prepared to launch "Mammoth Mountain" or any other games.

From gallery of Bunkelos Board
"Mammoth Mountain" prototype

In the intervening years I devised a number of products, including a debating game called "Controversy". I was turned down because it was considered too controversial.

Late 90's, I devised a range of 3D hand-held magnetic puzzles. Hasbro turned them down due to production costs. The magnets in my design precede today's neodymium magnets! Had I been able to acquire cheaper components, I believe they would have got to market.

When I took Escape from Atlantis to Waddingtons, I also produced a space theme of the game in case they preferred that. Years later Stronghold Games told me they were interested in marketing a space version of Survive! It was "re-imagined" by American designers Brian, Sydney and Geoff Engelstein and called Survive: Space Attack! I had very little input into the product; any co-developing by me was done via Stronghold Games CEO, Stephen Buonocore.

Board Game: Survive: Space Attack!

In recent times I have invented games for a younger market, for example, "Diamond Quest", a ludo-style game based in India of old which is enjoyed by my grandchildren.

Regards Survive!, a new Japanese version of the game was launched in 2020 and is doing well. Also, there are plans in the pipeline for another version of Survive!, hopefully in 2021. Watch this space!

DM: Finally, do you have any advice for aspiring game designers?

JCS: Start with a good, strong theme. Once you have that, try to match the theme with a major mechanism as in the island of Atlantis sinking in Survive! From there have some rough ideas about minor mechanisms like meeple movement, die rolls, cards.

Maths must come into the game straight away. How many players? How many spaces on the board? How many tokens, cards, etc. All these need to "balance" so that play runs smoothly. Size of spaces and tokens is important. Make your game appeal to as wide an age group as you can. The greater the age group, the wider the audience, the bigger the market. 8-80 is perfect.

Make rules concise, to the point. Easy to read. Don't make the game difficult to play. It's easy to add a new rule to solve a problem in play. Much better to concentrate on getting the game play working smoothly.

The days of games lasting all day and night, like Risk, are long gone. Time each player's move, ideally making the game last up to an hour and a half. Try to build into the game a natural ending. Last, but not least, playtest, playtest and playtest. To give you an idea, Lost Valley of the Dinosaurs was playtested over two hundred times.

Finally, can you think of a new way of playing a game? Hard ask I know, but try to break out of the mold. Break with tradition, start a new trend and with luck your game will be around for the next fifty years!
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Fri May 29, 2020 6:08 pm
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New GMT Game Round-up: Command U-Boats, Struggle for Glory, Raid Anglo-Scottish Borders, & Write the Versailles Treaty

Candice Harris
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Los Angeles
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Board Game Publisher: GMT Games
• In a May 2020 newsletter, GMT Games announced its latest P500 addition: Border Reivers: Anglo-Scottish Border Raids, 1513-1603 from designer Ed Beach. Beach is known for designing deep, immersive, historically rich, and often beasty, games such as Here I Stand and Virgin Queen, and some might also know him from his design work on the Civilization VI PC game.

Similar to Here I Stand and Virgin Queen, Borders Reivers serves players a strong dose of 16th century history, but is a faster-playing, slightly Euro-feeling game of resource competition, raids, and battle for 2-6 players. In more detail:
Quote:
For two hundred years, war waged back and forth across the border between England and Scotland. By 1482, the unfortunate town of Berwick-upon-Tweed, once the richest port town in Scotland, had changed hands thirteen times. By the time Henry VIII ascended the throne of England in 1509, the fifty-mile-wide stretch of rolling hills and stunning vistas that straddle the border had seen decades of hardship and atrocity.

Yet still the hardy families living on these frontier lands persevered. Unable to count on crops surviving until the harvest, they subsisted primarily on the livestock they could shepherd in the fields near their homesteads. When supplies ran low, raiding to steal what they needed from their neighbors was often the answer. Raids were often carefully planned operations with several border families uniting to steal livestock from a common foe in the dead of night. Cattle and sheep were the likely targets, often with hundreds of these creatures being stolen in a single raid. The reiver's goal was to herd their quarry to safety before the retaliatory "hot trod" pursuit could catch up and force an engagement.

Board Game: Border Reivers

To combat this constant hostility, England and Scotland established the system of March Law. Each nation divided its border lands into an East, Middle, and West March with each of these six territories administered by a Warden responsible for keeping the peace. The Wardens were drawn from the most powerful families on the borders, clans of great renown that could put upwards of a thousand men in the saddle in times of need. The March Law would have succeeded, too, but for the fact that these same great families were usually the ones best equipped and most inclined to raid their neighbors.

In Border Reivers, each player rules over one of the Marches as leader of one of the six major riding families of the border: Grey, Fenwick, Dacre, Maxwell, Kerr, or Hume. Your goal is to increase the wealth and fame of your clan throughout the reigns of Henry and Elizabeth to end the century as the most famous border reiver of all time. Players gain VPs from successful combats, amassing large herds of livestock, and by elevating their notoriety above the other players in the regions of the map.
While we wait (anxiously, in my case) for further updates on Borders Reivers, I figured I'd mention a couple other new GMT releases available for pre-order directly from GMT and retailers:

Board Game: Twilight Struggle
• Eric mentioned Imperial Struggle in a post in December 2018, but considering that was a while ago and more importantly, it's from the design team (Ananda Gupta and Jason Matthews) that brought us the acclaimed Twilight Struggle, I figured it was worth putting back on everyone's radars. Here's a brief overview of this highly anticipated two-player peace and war game:
Quote:
Imperial Struggle is a two-player game depicting the 18th-century rivalry between France and Britain. It begins in 1697, as the two realms wait warily for the King of Spain to name an heir, and ends in 1789, when a new order brought down the Bastille. The game is not merely about war; both France and Britain must build the foundations of colonial wealth, deal with the other nations of Europe, and compete for glory across the span of human endeavor.

Board Game: Imperial Struggle

Imperial Struggle covers almost one hundred years of history and four major wars, yet it remains a low-complexity game, playable in a short evening. It aims to honor its spiritual ancestor, Twilight Struggle, by pushing further in the direction of simple rules and playable systems, while maintaining global scope and historical sweep in the span of a single evening.

In peace turns, players build their economic interests and alliances, and take advantage of historical events represented by event cards. They must choose their investments wisely, but also with an eye to denying these opportunities to their opponent. In war turns, each theater can bring great rewards of conquest and prestige, but territorial gains can disappear at the treaty table. At the end of the century, will the British rule an empire on which the sun never sets? Or will France light the way for the world, as the superpower of the Sun King's dreams or the republic of Lafayette's?
In 2018, Ananda Gupta posted an excellent article that sheds light on the similarities and differences between Imperial Struggle and its "older cousin" Twilight Struggle which has me pretty hyped to play it.

Geoff Engelstein and Mark Herman's Versailles 1919 is a political, negotiation game in which 1-4 players gain influence to contribute to writing the Versailles Treaty. While thematically reminiscent of Herman's World War II classic game Churchill, Versailles 1919 is lighter and very different mechanically, sitting in a sweet spot that eurogamers and wargamers alike will probably dig. Here's the gist of it as described by the publisher:
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On November 11, 1918 an armistice halted the killing field that was The War to End All Wars. To make peace, Woodrow Wilson (United States), David Lloyd George (United Kingdom), and Vittorio Orlando (Italy) were hosted by President George Clemenceau (France) in Paris, and sat down to write what would become the Versailles Treaty. The treaty was signed on June 28, 1919, after six months of acrimonious debate and bargaining between the great powers.

Versailles 1919 allows you to experience this piece of history as one of the four leaders with a national agenda that must be satisfied. As one of the Big Four, you sit in a conference room gaining influence on the issues present in the room. Hovering in the waiting room sit other issues and personages who are waiting their turn to make their case to meet regional aspirations such as self-determination. Will you support Ho Chi Minh's attempt to free Vietnam from French colonialism? Help Prince Feisal establish a new nation in Mesopotamia or Chaim Weitzman create a Zionist state? Work with TE Lawrence to reduce unrest in the Middle East or with Ataturk in Anatolia?

Board Game: Versailles 1919

As France, you are concerned with containing future German aggression while aligning with the British on reparations to pay for the destruction of the war. The British, however, would like to see Germany restored as a trading partner while preserving their empire against the global aspiration for self-determination. Italy wants territorial concessions from the former Austro-Hungarian empire. Lurking in the background is the threat of Bolshevism. Towering above it all is President Woodrow Wilson with his fourteen points that set global expectations soaring, ultimately ending in disappointment when the U.S. does not join the League of Nations.

Versailles 1919 introduces a new card-bidding mechanism in which you use your influence to settle issues aligned with your agenda while keeping domestic constituents in support of your actions. You need to balance the need to demobilize your military forces while simultaneously keeping regional unrest under control. All of these decisions are set against the backdrop of regional crises and uprisings. The player who writes more of the treaty prevails in this contest of wills and national agendas. Can you save the world from the rise of nationalism? Can you make a better world while satisfying your domestic electorate? Play Versailles 1919 and relive making the flawed peace that was the Treaty of Versailles.
Board Game: The Hunters: German U-Boats at War, 1939-43
• For the solo gamers out there who love a good challenge, be sure to check out The Hunted: Twilight of the U-Boats, 1943-45, which is Gregory M. Smith's sequel to The Hunters: German U-Boats at War, 1939-43. Similar to The Hunters, The Hunted also includes rules for two players. Here's an overview of what you can expect:
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The Hunted is a solitaire tactical level game placing you in command of a German U-Boat during WWII. This game picks up the action where The Hunters left off, with you commanding one of many U-Boat models available starting in 1943 and looking to successfully complete U-Boat operations until the end of the war. Not only is this a standalone game, but fans of The Hunters will enjoy having the capability to easily combine both games to span all of WWII and experience the career of a U-Boat commander from 1939 until 1945.

Board Game: The Hunted: Twilight of the U-Boats, 1943-45

While your mission is to destroy as much Allied shipping and as many capital ships as possible, players will find it extremely challenging to "go the distance" and survive the entire war. The second half of the war has not been sugar coated; the brutal aspects facing U-boat commanders in the final phases of the war make surviving your attack difficult at best. True to history, your challenge is to accomplish what only a few could achieve — to make it to the conclusion, as happened historically.

The Hunted is purposely designed to deliver a brisk, yet intensive gaming experience that forces many decisions upon you as you take command among the major German U-Boat models in service during WWII, and try to survive until the end of the war. All major U-Boat models are accounted for, with every level of detail, including period of service, armaments, crew make-up, damage capacity, and more. Fans of The Hunters will enjoy the same nail-biting game system, but fraught with many more challenges to withstand the advances the Allies have made in anti-submarine warfare. If you ultimately survive until 1945, you will surrender at port, having done your part on the front lines.

As U-Boat commander, you will be confronting many decisions during your patrol. To begin with, eleven German U-Boat models are profiled and available for you to choose from. Patrol zones reflect the period during the war at sea and will shift as the war progresses. All stages of the U-Boat campaign are represented; missions become increasingly more difficult as your adversary makes advances in anti-submarine warfare.
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Thu May 28, 2020 1:00 pm
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Links: Distinguishing Between Red and Anthrocite, and Choosing Games for a Pandemic

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From gallery of W Eric Martin
Board Game: The Crew: The Quest for Planet Nine
• Following the May 18 announcement of the 2020 Spiel des Jahres nominees, jury member Udo Bartsch has written an article that explains why certain games are nominated for the Spiel des Jahres award, which is aimed at families, while other titles are nominated for the Kennerspiel des Jahres, which is aimed at enthusiasts or connaisseurs. Here are two translated excerpts:
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Which game is a game for everyone and which is not cannot be determined by generally applicable and precisely measurable characteristics, but only by playing with as many different people as possible — and even then, the results are not always crystal clear.
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In the current year we see The Crew and The Cartographers as connoisseur games. Why? The Crew is a trick-taking game. Many people play trick games; Skat, Schafkopf, Doppelkopf, and also more modern representatives like Wizard are quite popular.

But in contrast to the usual competitive trick games, the co-operative The Crew demands more: If you want to play sensibly, you have to develop a notion for the whole story beyond your own hand and without seeing the cards of the other participants, you need to anticipate processes such as "stinging" or throwing off. The Crew requires an unusual thinking process to make it run smoothly. It's like a logic puzzle with cards. Several times I sat at the table with people who knew Wizard or Doppelkopf, but still had no idea what The Crew was now asking of them.
Board Game: SpyNet
• In mid-March 2020, Matt Jarvis at Dicebreaker profiled designer Richard Garfield, with the interview highlighting which game of his has been overlooked (SpyNet, a 2017 release from Z-Man Games) and what he values about KeyForge compared to Magic: The Gathering: "A game like KeyForge makes it tough for a 'one size fits all' strategy guide to emerge; every deck has its strengths, weaknesses and peculiarities. Weirdly, there is noticeably more variety in decks even though in a TCG technically a larger variety of decks could be played — because in practice they aren't played."

I also appreciate these comments from Garfield given how they mirror my own thoughts:
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"One of my current concerns in board game culture is how fast players draw conclusions about games," he says. "My favorite thing about games has always been that the best ones get better with time and go to unexpected places."

"Skim the comments and reviews on [BoardGameGeek] and they are littered with people talking about imbalances after far too little time. It often seems players pick a strategy the first time they play and if something unforeseen happens the game has a problem that should have been designed around."

Garfield says that games with a large amount of gameplay variety such as 1970s classic Cosmic Encounter, often cited as one of the best board games ever made and a key influence on Magic: The Gathering, have become "dangerous to make" as a result.

"Recently I have begun to suspect that this culture may excessively narrow the sort of games that are made," he says. "Designers are encouraged by this to create games that are tightly constrained so that players get what they expect and are not surprised except perhaps in the minimal amount required to make it feel like a new game."
Board Game: Jaipur
• Thanks to folks looking for things to do while at home, mainstream media outlets continue to introduce new board games to their readers, as in this April 30, 2020 article by Alexis Soloski in The New York Times that leads with this introduction:
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If you, like me, grew up with a battered box of Sorry and a Battleship missing at least two of its boats, you should know that board games have improved. With a large number released each year, the variety of games and the mechanics that govern them are almost infinite.

My library books remain unread, a stack of untouched New Yorker issues has become a household obstacle, and I can't make it through a movie, or even a 23-minute sitcom, without reaching for my phone. So why can I spend a focused hour-and-a-half bartering for camels in an Indian marketplace playing Jaipur or simulating quilt-making in Patchwork?
Board Game: Sanssouci
• On Ars Technica, Nate Anderson does something similar in an article titled "6 board games I’m playing during the pandemic", with this assortment of titles ranging from the "oh, of course" to the "wait, really?" Here's an excerpt that highlights the out-of-print title shown at left, although a new edition is coming in 2020 from Chilean publisher Fractal Juegos:
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A terrific tile-layer, this Michael Kiesling design has been criminally overlooked. No dungeon crawls here, D&D lovers—this is a game about building a European formal garden while moving your nobles down the garden path so they can smell the roses (and earn you points). It's fast, it's fun, and it's extremely relaxing. The rules are simple to teach, turns are fast, and everything looks great. The game even includes a small expansion module in the box for slightly more complex play. The biggest downside? It might be hard to find new right now.
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Wed May 27, 2020 1:00 pm
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Ride Whales, Collect Artifacts, and Sail Northwest with Reiner Knizia

W. Eric Martin
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Board Game Publisher: Grail Games
Australian publisher Grail Games has had a steady partnership with designer Reiner Knizia for years, starting with a new version of Circus Flohcati in 2015 followed by a new version of Medici in 2016.

Artist Vincent Dutrait was responsible for the look of that second title, and at this point the Knizia/Dutrait/Grail team has also worked on King's Road, Medici: The Card Game, Yellow & Yangtze, and the still-to-be-released Medici: The Dice Game.

Now they're coming together again for two new titles, the larger of which is the 2-6 player game Whale Riders, which bears a 30-45 minute playing time and this description:
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You are a whale rider. For generations, your people have known and lived with the ice whales and together you've bought and traded at the busy ports along the fabled Ice Coast. You are honored to be the latest in your family to sail with the whales — but the ice is thickening and the glaciers are moving. A deep winter is coming, the fiercest for centuries. You decide to ride your mount one final time before the snows come to buy and sell as much as you can...and maybe even collect some precious pearls along the way.

Whale Riders is a new design with a classic feel, with players racing to the end of the Ice Coast and back, buying and selling as many resources as possible to make the money needed to acquire the richest prizes. Will you skip opportunities to gain the greatest treasure, or will you make your money slowly along the way?

Board Game: Whale Riders

Each player has two actions per turn, but a lot they want to accomplish. Sail? Buy? Sell? Draw more order cards? All the while, your opponents might be sailing past and beating you to what's on offer down the coast! Once all the precious pearls have been purchased, the game ends and the player with the most pearls wins!
Grail Games plans to Kickstart Whale Riders in July 2020, along with a standalone companion game from the same team. In Whale Riders: The Card Game, which is for 2-5 players, you ride alongside others to buy goods along the Ice Coast, sometimes working together with others only to become competitors again when a better proposition comes along.

Board Game: Tutankhamen
Board Game: Tutankhamen
• In other Knizia news, U.S. publisher 25th Century Games plans to release a new edition of Tutankhamen — first released in 1993 by AMIGO, then republished in 2004 by Out of the Box Publishing — under the slightly different name Tutankhamun. The game will accommodate 2-6 players, and here's an overview of the setting and gameplay:
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The Great King Tutankhamun has passed, and arrangements are being made to fill his tomb with artifacts that will travel with him to the afterlife.

You are one of the priests and priestesses gathering artifacts for King Tut's tomb from all over Egypt. Once all the parts of each artifact have been located, that artifact is placed in the tomb, and the priests who took the most credit for acquiring it donate the funds needed for its procurement. Along the way, enchanted idols from the Gods may assist you in your journey. By acquiring artifacts, you rid yourself of your own wealth in order to pay the highest tribute to the late King Tut. If you can be the first player to completely disperse your wealth, you will so impress the new Pharaoh that he'll appoint you to the highest priestly office.

Prepare your offerings and invoke the aid of the mighty Egyptian Gods while you wind your way down the Nile toward the tomb of the great King Tut. Will you earn the favor of the new Pharaoh and be declared the next High Priest of Egypt?

Board Game: Tutankhamun

Tutankhamun features gameplay familiar from earlier versions of this game design, while adding new Egyptian god powers and implementing a modified scoring system.

To set up, shuffle the artifact and god idol tiles, then arrange them in a snake-like pattern that emulates the winding of the river Nile. Players start at one end of the line, taking turns choosing any tile from in front of them along the Nile while never being able to claim a tile they have already passed. Multiple sets of scoring tiles (three sets each of 8, 6, 4, and 2 points), along with ten 1-point scarab ring tiles, can be claimed, and when the last tile of any set has been claimed, the player holding the most tiles from that set scores the number of points listed, while the player holding the secondmost tiles scores half that amount. Whoever has the most scarab tiles when the last one is collected scores 5 bonus points.

Tutankhamun includes two copies each of five different Egyptian god idol tiles. When you collect one of these, you immediately trigger its ability to manipulate tiles on the path, tiles in player's collections, tiles in the Underworld (i.e., the collection of bypassed tiles), or scarab ring tiles in your collection.

When a player reaches zero on the score track at the end of their turn, the game ends and that player will be proclaimed the new High Priest of Egypt!
Board Game Publisher: SimplyFun
• When Knizia tweeted about the release of his game Phantom Seas in May 2020, I was surprised to discover not a design of his unfamiliar to me (since few people can keep up with all that he releases), but rather that the publisher of the game — SimplyFun — still existed.

For those not familiar with the company, SimplyFun started publishing educational games in the late 2000s, with its distribution of these titles being handled by sales agents who would host Tupperware-style parties during which they would show guests the games and take orders for them. I wrote about several SimplyFun releases in the late 2000s on Boardgame News, the site I ran prior to joining BoardGameGeek, but then I lost contact with the company and forgot about it — which is perhaps to be expected given that I never saw their games in stores or at conventions, much less at private home parties.

In any case, in April 2020 SimplyFun released the 2-4 player game Phantom Seas, which plays like this:
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In Phantom Seas, you want to claim as much treasure as possible without having it stripped away from you by the phantom ship that patrols the waters.

To set up, place the 22 treasure tiles face down at random on the designated spaces on the game board. These tiles are worth 1-3 points as indicated by the number of locks on them. Place the included compass on the game board, and orient the board so that the compass points north. Place your ship on one of the starting locations and the phantom ship in the center of the 13x13 game board.

Board Game: Phantom Seas

At the start of each round, reveal seven direction cards from the top of the deck. Players then take turns choosing a card and moving their ship in the indicated direction and distance, with most cards giving you choices for one or both of these values. If you finish your movement on a treasure tile, flip it over to see whether the phantom ship moves; if it does, the phantom ship moves directly toward you, and if it reaches you before ending its movement, then you throw that treasure away instead of keeping it.

Some tiles have you rotate the game board (and the compass), which means that the direction cards will now have you moving in different ways.

After all the cards have been played, reveal seven new cards from the deck. After seven rounds or after all treasures have been claimed, players count their scores to see who wins.
Board Game: Phantom Seas
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Tue May 26, 2020 1:41 pm
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Scooby-Doo and Jack Torrance Hit the Game Table — Again

W. Eric Martin
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Board Game: Scooby-Doo: Escape from the Haunted Mansion
• In February 2020, U.S. publisher The Op announced Scooby-Doo: Escape from the Haunted Mansion from Jay Cormier and Sen-Foong Lim that was labelled as the company's first "Coded Chronicles" game.

The second such title has now been revealed: The Shining: Escape from the Overlook Hotel is by the same designers, and it's for one or more players, ages 17 and up, with a playing time of at least two hours and a release date of Q4 2020. Here's an overview of what you're doing in the game:
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The Shining: Escape from the Overlook Hotel puts one or more players in the roles of unhinged writer Jack Torrance's wife and son, Wendy and Danny, who must work together and find a way out of the mysterious resort!

Driven by the "Coded Chronicles" mechanism, which requires you to unlock clues and solve puzzles for unique storytelling codes, the game allows you to use psychic abilities like "the shining" to get through more than two challenging hours of escaping the threat of homicidal Jack and the paranormal hotel itself! Since every Coded Chronicles game is enriched with thematic details and objectives, escaping captivity makes this edition's difficulty level as hard as a dizzying hedge maze (minus the time limit)!

Board Game: The Shining: Escape from the Overlook Hotel

Players can anticipate being engaged with every unpredictable turn, thanks to Wendy and Danny's heightened abilities, which allow their characters to investigate with double the intuition as characters from the previous Coded Chronicles game, Scooby-Doo: Escape from the Haunted Mansion. Use Wendy's skill of looking and using surrounding objects to get a better hold of helpful items or tap Danny's supernatural "Shining" to reveal hidden clues.
The year 2020 is the fortieth anniversary of the film The Shining, so perhaps we shouldn't be surprised to find a second game being released this year to mark the occasion, with Prospero Hall and Mixlore's The Shining having been released in March 2020.

Board Game: The Shining
• Or maybe given the current growth of the board game market, we just have to anticipate that many licensed properties will have associated games released by multiple publishers. In March 2020, for example, I wrote about Back to the Future: Dice Through Time and Back to the Future: Back in Time, with each being a co-operative dice-based game due out in mid-2020, the former from Ravensburger and the latter from Funko Games.

And just as The Op is following Mixlore onto the market with its own game about The Shining, CMON Limited is following The Op with its own take on Scooby-Doo, with Scooby-Doo: The Board Game — due out "soon" — being a co-operative design for 1-5 players from Guilherme Goulart and Fred Perret. Here's an overview of the game from CMON:
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Ruh-roh, Shaggy! There's a monster on the loose, and it's scaring everyone out of town! It's up to the Mystery Inc. gang to stop them! Scooby-Doo: The Board Game is a co-operative family game for 1-5 players that brings the beloved cartoon series to life with amazing miniatures of the whole gang.

Players take on the role of Scooby-Doo, Fred, Velma, Daphne or Shaggy, and ride the Mystery Machine around town, building traps to catch the villains before they frighten all the citizens away — but just like in our favorite episodes, even the best plans can go awry as the monster, which is controlled by the game itself, may make a move the players never expected!

Board Game: Scooby-Doo: The Board Game

Each member of Mystery, Inc. has their own unique, special ability to help them during the game, and they'll need all the help they can get because the villains all operate differently as well! The gang can succeed only if they coordinate together as a group.

Scooby-Doo: The Board Game has three levels of difficulty (easy/medium/hard) and special rules for playing as a two-player game or a solo game.
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Mon May 25, 2020 4:42 am
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