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Vital Lacerda
Portugal
Oeiras
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2010 - Vinhos, 2012 - CO2, 2014 - kanban, 2015 - The Gallerist, 2016 - Vinhos Deluxe, 2017 - Lisboa, 2018 - Escape Plan, CO2 Second Chance and Dragon Keepers - Maybe: 2019 - ROTW Portugal and On Mars, 2020 - Kanban Deluxe Edition and Máquina
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And leave the player aid aside quicker.

Here some:

1. Scoring VIPs icon - Imagine this bonus as a big party you are throwing. The party is full of VIPs, you gallery earns Influence.

2. Scoring Investors Icon - A business lunch/meeting will persuade those guys to invest in your gallery.

3. Why a visitor goes away after a selling - This guy is the buyer (you signalise this by flipping the contract on your office, right?) He is really happy with the wonderful work of art just acquired, the need to go home and showed it to his friends is huge.

4. Why the flip card gives you a VIP/Investor bonus - You have power now. You just made a sale. Someone important just bought you a work of art. Go and show this accomplishment by giving a party, or having a meeting with your investments.

5. Rule of Collectors - You really believe that you can bring many new powerful Collectors into your Gallery without selling any art. In your dreams.

6. International market - See it like a show fair. A space to increase your reputation outside the boundaries of your country, to the world. You need the right things to reach the right place.

7. Visitors on the lobby to access the international market - See your Gallery lobby as your office, or a bar in your gallery, and this is the right place to close your business. And those visitors there are the right ones to set you at the right place, at the right time.

8. Why a visitor goes away from the lobby, after you take a reputation tile - Being at a fair is really exhaustive. Hard work. A few days on vacations, resting, seeing the views, enjoying new cultures on new sites, are always a plus.

9. Letting an assistant in a empty location - When you discovered the value of having extra actions, you will not forget to send an assistant to a location anymore. You don't want to lose this game.

10. Contract cards - See them like someone interestead in buying that work of art, and this guy is powerful, that can bring you a benefit, you just need to hang out with him. Send one of your assistants to have a drink with him.

11. See the promotion levels, like more and more important medias.
Level 1 - a personal web site,
Level 2 - an appearance on a radio program
Level 3 - an appearance on a gallery opening night
Level 4 - an appearance on the news channel
Level 5 - an appearance on a night show
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Kyle Meighan
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Manahawkin
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Re: Some thematic tips to help you remember the rules.
Thanks for this.

I do have to laugh however, as all are thematic reasons except number 9. Which essentially says, "You need extra actions, trust me you wont forget!"

Edit: Another awesome game by the way. I have only played once solo so far, but it was enough to see that you've done it again. A great mix of player interaction, planning for endgame scoring, and theme throughout. Thank you.

-Kyle
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nāt
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Des Moines
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Re: Some thematic tips to help you remember the rules.
Great idea. I love when a rulebook adds in thematic asides like these; they always help solidify core mechanics and also inspire fun comments during the teaching process.

I added a bit of flavor to the end-game scoring during our first play: you get the money from works of art still left on exhibit in your gallery due to an eccentric billionaire bursting through the doors right at closing time (monocle and top hat askew) shrieking "I'LL BUY ONE OF EVERYTHING!"
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Paul Grogan
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Re: Some thematic tips to help you remember the rules.
I think we were planning to put more thematic reasons into the rulebook. however, space was a big issue.

I particularly like the definition of the media promotion levels
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Georg Bauer
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Re: Some thematic tips to help you remember the rules.
A thematic reason for number 9: you did the main work, but often loose ends have to be tied up and stuff has to be finished, so you leave your assistant to that. The kickout action then is just that someone else does a deal or some business and you (or your assistant) just was luckily at the right place at the right time and could get some deal in, too.

BTW: I'm still learning and preparing for teaching the game to my wife, but I have to say that the great way to map in-game activities and pieces to thematic concepts helps a lot with a complex game. Really well done!
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Joao Rodrigues
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Guarulhos
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Thank you for this!

I do play a lot thematically and I'm always "making up stories" while playing. For the assistant thing, I told my wife like: "well, you had to go somewhere but you still had some unfinished business in this location. Then you placed your assistant there. Out of the blue, an arrogant rival gallerist came in and didn't care for an assistant there.. he just pushed him away. Your assistant called you on your mobile phone and told you what happened. You instructed him to go look for the manager of the location and hand him the phone to talk to you. You forced the manager to attend your assistant. Simple as that."
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Paul Grogan
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Johnnymaxx wrote:
Thank you for this!

I do play a lot thematically and I'm always "making up stories" while playing. For the assistant thing, I told my wife like: "well, you had to go somewhere but you still had some unfinished business in this location. Then you placed your assistant there. Out of the blue, an arrogant rival gallerist came in and didn't care for an assistant there.. he just pushed him away. Your assistant called you on your mobile phone and told you what happened. You instructed him to go look for the manager of the location and hand him the phone to talk to you. You forced the manager to attend your assistant. Simple as that."
Brilliant. I love it.
 
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Frank M.
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It's really too bad a lot of these ideas weren't incorporated into the design of the components -- it seems like it could have been relatively easy if I can come up with viable ideas with only a moment's thought.

For example, the media promotion tiles: add an icon that represents each of those five media types along with the number. (Would you even need the number any more, since the hierarchy is intuitive and would be clear from the way the tiles are laid out on the board?)

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Vital Lacerda
Portugal
Oeiras
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2010 - Vinhos, 2012 - CO2, 2014 - kanban, 2015 - The Gallerist, 2016 - Vinhos Deluxe, 2017 - Lisboa, 2018 - Escape Plan, CO2 Second Chance and Dragon Keepers - Maybe: 2019 - ROTW Portugal and On Mars, 2020 - Kanban Deluxe Edition and Máquina
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One of the things I love in board games is the space they leave for imagination.
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Frank M.
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Just finished another play, this time concentrating on working the mechanisms rather than thinking about the theme. Liking the game more this way. Increasing rating to an 8.

One of my disappointments from the beginning has been the small art work images -- they are larger on the side you hardly ever look at than they are on the side that gets displayed.

Games like the classic Master Piece, Pastiche, and Master's Gallery do a nice job of featuring the actual art work in an attractive way. With the Gallerist, we've all noticed that we pay little attention to the art image because the icon for the genre is of far more importance. (That pink bunny is a notable exception ) And that one genre icon that looks like a dress maker's form, we've wound up saying we're buying/selling a Red dress or a Blue dress (Bill Clinton influence, I guess?)

Anyway, my opinions/tastes are of no importance. Congrats on creating a big hit, and I'm eagerly looking forward to the new KS edition of Vinhos!

 
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Casey Lee
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West Columbia
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PaulGrogan wrote:
I think we were planning to put more thematic reasons into the rulebook. however, space was a big issue.

I particularly like the definition of the media promotion levels


Maybe the next game you do for Vital with the rulebook you guys can put that thematic reasons at the end of the booklet? It can make the game a much more thematic experience!
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Nathan Sharratt
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newrev wrote:
And leave the player aid aside quicker.

11. See the promotion levels, like more and more important medias.
Level 1 - a personal web site,
Level 2 - an appearance on a radio program
Level 3 - an appearance on a gallery opening night
Level 4 - an appearance on the news channel
Level 5 - an appearance on a night show


As an artist who shows in galleries and museums I thought I'd add some tweaks to this list and flesh out some real world details.

1 - Website. This gets you noticed by a gallery who offers you a show.
2 - Preview article in local paper or arts blog. This gets people excited to see your work.
3 - Exhibition opening of your work at the gallery. This is essentially a party to see and be seen.
4 - Radio interview. Usually local or regional. Doesn't happen that often, though, only if there's something especially noteworthy about the exhibition or artist.
5 - Critical review in arts publication or website. Depending on who wrote the review and for which publication. A review in a local arts blog is great. A review by Roberta Smith for the NY Times is an entirely other level.

News channel and night/late show almost never happen in reality unless there's some controversy about the exhibition that lures in the local news. When was the last time you saw an artist on a late show? Not visual artists, anyway, unless you're Jeff Koons or Damien Hirst, and even then I can't recall the last time I saw them on TV.

4 and 5 could be swapped, it really just depends on how revered the publication or radio station is and what their reach is. There are some other things that will add to an artist's brand value as well, and it usually has to do with being associated with something else that's already vetted by the art world as being valuable or exclusive, such as having a branded collector buy your work, or a museum adds your work to their permanent collection. The bigger and fancier the better. Or getting into a juried show with a well-know curator. Or getting accepted into a prestigious artist residency (this is a big one for emerging and mid-career artists).

Art world economics don't operate the same way as traditional supply and demand economics. An artwork's economic value is directly related to the artist's brand value, and an artist gets brand value by passing certain vetted gateways along the path to success.

And to make it even more complicated, there are multiple levels of artworld economies. The path listed here is primarily for emerging and mid-career artists. The highest-level blue-chip galleries, for example, might take an ad out in a prestigious arts mag, but mostly they rely on backroom deals and word of mouth. Many blue-chip shows will be pre-sold before the exhibition even opens to the public. The artworld loves its esoteric and unwritten rules. I call it Rainbows and Unicorns Economics®.

__

In other news this game is great! I've actually been working on using it in a real-life art project that takes the aspects of the art market that the
game simulates and pushing it back into the real world. So actual artists, gallerists, collectors, curators, etc. would compete in tournaments with real art prizes by playing a modified version of The Gallerist. The faceless artists in the game would be replaced with real artists and the art tiles with their real art, which could actually be bought and sold through the game.
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Sharon R
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newrev wrote:
9. Letting an assistant in a empty location - When you discovered the value of having extra actions, you will not forget to send an assistant to a location anymore. You don't want to lose this game.

A thematic explanation of why you leave an assistant behind is that you don't want another gallery owner to come by to transact business and leave because you've gone to do something else and nobody is there to receive them. So you leave behind an assistant. If neither your gallerist nor an assistant is present to get bumped out, then from your point of view, the other gallerist is conducting business in that location with an out-of-game gallery.
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