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New Game Round-up: Strings and More from FoxMind in 2012, Get Animals on Board in Noé & More

W. Eric Martin
United States
Apex
North Carolina
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• Canadian publisher FoxMind Games has unveiled its release schedule for the first half of 2012, some of which are localized versions of games already available in Europe and Japan and some of which is new. The rundown of releases is:

Already available
-----Rise or Fall, a quick-playing simultaneous reveal game in which you want to slime other high school cliques to leave yourself on the top.

March 2012
-----Four in a Square, a two-player abstract in which you place a token, then slide a tile in the grid to try to create...

April 2012
-----I Go!, a new pirateless version of Leo Colovini's Corsari.

June 2012
-----Map It! World Edition and Map It! U.S. Edition, being respectively a localized version of Ausgerechnet Honolulu and a new version of the Ausgerechnet series that focuses solely on U.S. cities and landmarks.

July 2012
-----Chocoly, a localized version of the Steffen-Spiele release Schokoly in which players place and stack chocolate wafers to create large blocks of their color.


Q2/Q3 2012
-----String Railway, an English/French version of this Hisashi Hayashi design, which Japon Brand previously made famous at Spiel. Yes, Asmodee had previously been announced as the publisher of a forthcoming new edition, and FoxMind's Marie-Ève Lupien – man, could there be a better-sounding, more French name? – says that plan is still in place: "Asmodee is launching its own version in France this year, too. Production should be made at the same time." The FoxMind version also has rules in French to cover sales in Québec.

Release date unknown
-----Six, another Steffen-Spiele release, this one being a game that FoxMind has published previously but is now redoing to include bakelite tiles.

-----Kulami, yet another Steffen-Spiele title and one that I sadly overlooked while compiling the Spiel 2011 Preview. Whoops! Wish I would have seen this game in Essen, but apparently I'll have a second chance now. Lupien mentions that the FoxMind version will likely have a different name.


• U.S. publisher Steve Jackson Games has announced that it's working on Munchkin Zombies 3, a second expansion for the Munchkin Zombies base game.

• I've added four new HABA titles to the Nürnberg 2012 Preview, with all of them being due out in March or April 2012 in Europe. (These games might have separate U.S. releases in 6-12 months.) The games are:

—A new Animal Upon Animal title – Tier auf Tier: Jetzt geht's rund! – in which players now stack animals on a crocodile which is on a ice floe (turntable) that must be rotated each round.
–In Wasserratten in Sicht!, players must collectively build a series of lighthouses to prevent water rats from reaching an island.
–Roberta Fraga's Kuck Ruck Zuck!, with players trying to deduce which animal took which picture based on the animals that can be seen in them.
–In Monstertorte, players scoop colored sugar balls from a mixing bowl to get the right ingredients for cake recipes.

I still have many more HABA titles to add to the database. Soon!

• The UK Games Expo has posted a new games page for its 2012 event, and while details are scant about most of what will be on offer – the title Mountain Railway and Guilds of London from Surprised Stare Games, Nine Worlds from Medusa Games – the page is there if you want to keep an eye on it.

• French publisher Libellud is releasing Sticky Stickz, which Korean publisher Happy Baobab had debuted at Spiel 2011. The short description: Roll dice, then smash tokens with your "sticky stick" – i.e., a stick bearing a suction cup – to claim the appropriate token.

• French publisher Bombyx has now released more info on Noé, a card game from Bruno Cathala and Ludovic Maublanc due out in March 2012. Here's the detailed game description I've now posted on the BGG game page:

Quote:
In Noé the flood is at hand, and to save as many species as possible, Noah will need your help – with only the most deserving of players being saved from the waters!

Each round, players start with eight animal cards in hand; five ferries are laid out in a circle, with one animal placed on board from the top of the deck. Noah himself stands on one ferry. On a turn, a player plays one card from hand onto the ferry where Noah is located, following two rules: (1) the total weight of all animals on board cannot exceed 21 and (2) animals on a ferry must be placed either in alternating gender order or must be all of the same gender. After placing an animal, the player moves Noah to a different ferry; if he played a female animal, Noah goes to either adjacent ferry, while if he played a male, Noah goes to either ferry on the other side of the circle.

If a player can't legally play an animal, he must first take in hand ''all'' the animals on the ferry where Noah is located, then play an animal.

In addition to moving Noah to a nearly full ferry, players have two other ways to benefit themselves or mess with other players. If a player plays an animal identical to the one last played on that ferry, he moves Noah, then takes another turn. If a player brings the weight of a ferry to exactly 21, that ferry launches from shore to meet the ark located in distant waters, a new ferry becomes available for loading, and the player distributes 1-4 cards from the deck among his opponents. finally, some cards have special animals, such as the giraffe that lets you peek at an opponent's hand and the woodpecker, which stupidly pokes holes in the ferry and reduces its maximum weight to 13. Bad woodpecker, bad!

The round ends when a player runs out of cards in hand or a fourth ferry launches. Players receive penalty points for cards still in hand, scored according to the number of tears on each card, those tears representing Noah's sadness at the animal being left behind. Then players shuffle all the animal cards and begin a new round. The player with the fewest points after three rounds wins!


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Nürnberg 2012: Days 1 & 2

Rob Harris
United Kingdom
Surbiton
Surrey / London
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mbmbmbmbmb
Outside it is minus ten degrees, but inside day one of the Toy Fair is hotting up. The world has come to Nürnberg and business is good. The hours pass on fast-forward. There is no time to check out other stands, but we do get to meet many great people, including Scott Reed and Chad Krizan from BGG. The first day ends with the Toy Night, a party for exhibitors with free food and wine. The theme is "Celebrity" and the crowd are entertained by the cast from We Will Rock You before a disco until the early hours.

Even in Europe, the smokers now have to stay outside the building. (All captions courtesy WEM)

Day two and the hangover cures seem to be working as everyone appears bright and ready for another busy day. During the afternoon, I head upstairs to check out some new Euros on the Queen Games stand and they kindly allow me to take some pictures, even though the displays show prototypes. Urbanization looks particularly interesting.

Do you agree that it looks interesting? Discuss.


Kingdom Builder: Nomads, not being very nomadic at the moment.


Ri-Ra – a holdout from the list of 2011 releases from Queen Games.


Kairo in the Queen Games booth at Nürnberg 2012; I see the players
have completed a few more turns from the game state at Nürnberg 2011.
Five more years, and we'll count the endgame scoring!

Next, I head to Hans im Glück, where Michael gives me a explanation of Marcel-André Casasola Merkle's new game, Santa Cruz. The game is finished and will be out in Germany shortly, and the artwork looks fantastic. Players are each given a different hand of cards, comprising traveling cards and scoring cards. They then explore a board showing three islands, which have tiles laid face-down representing buildings and places, such as churches and lighthouses. On a turn, players must play either a traveling card to explore and place buildings in their color or play a scoring card to score a particular type of building, resource, or other game condition for all players. Spaces near the central volcano are more valuable, but are vulnerable to a negative eruption scoring card. It has gone straight to the top of my want list. Straightforward to teach, but with interesting decisions and a little bluffing towards the endgame.

Rob, we don't pay you to go to Nürnberg to take pictures of the demo crew!
(NB: We don't pay Rob at all.)


Ah, that's more like it...

With thanks.

Best wishes,
Rob
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Fri Feb 3, 2012 6:05 am
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Looking for Help with .MPG Files

W. Eric Martin
United States
Apex
North Carolina
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At the risk of being inundated with offers of assistance, I'm looking for someone who might be able to assist me with .MPG files that Scott Reed, aka skelebone, has sent me from the Nürnberg Toy Fair. Please post below and I'll contact people in the order they respond. Thanks!
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Thu Feb 2, 2012 7:35 pm
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Links: China in Venice, Fresh Blood for Red November, Adam Sandler in Candy Land & a Top Prize for Poop

W. Eric Martin
United States
Apex
North Carolina
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• Designer Michael Schacht continues his "12 months of China" project on his online gaming website with implementations of the China gaming system in the Soviet Union (which debuted in January 2012) and in Venice (which goes live in February 2012). What's more, Schacht has now made these new China game boards available for download via the China page of his website. (Click "expansions" under the Downloads header, then arrow right to the second page. A ton of stuff awaits the curious!)

• Schacht has also posted downloadable versions of the Ferris Wheel for Coney Island (here), the promotional scoring card for Gold! (here) and board #20 for Valdora (here).

• Designer Fredric Moyersoen has published new cumulative sales totals for Saboteur, noting that 130,000 copies of the game sold in 2011 – twice as much as in 2010 – bringing the cumulative sales tally up to 480,000. (Moyersoen includes sales of Saboteur 2 in this total, which is somewhat justified given that some versions of that title include the entire game, despite others having only expansion cards.) The game is available in 21 languages, and the top-selling countries/regions are France, Germany, Benelux(!), the U.S. and the Baltic States(!!). Lots of love for the game in those smaller countries...

• Designer Bruno Faidutti has posted approvingly of twenty special characters for Red November, each with a unique special ability, that blogger Dylan Brooks created and posted (PDF) on his personal blog. Says Faidutti, "They are really well designed."

WizKids is looking for game designers and developers who, if selected, would be willing to pitch a game concept for a licensed property or work to develop and balance someone else's game. Details at the link above.

• Publisher AMIGO Spiel is profiled in the German-language op-online. Interesting details from the article: Wizard has sold more than one million copies; the average time from concept to finished product is two years; and AMIGO reviews roughly one thousand concepts each year to then consider 250 playable prototypes, which eventually get narrowed to 20-30 releases in a calendar year.

Doggie Doo, aka Kackel Dackel, received the "Game of the Year" award from the British Toy & Hobby Association at the start of the British International Toy Fair in late January 2012. This press release states the award was based on "sales success", but I'd like to think that the members of the BTHA each individually thought they were being funny by voting for Doggie Doo only to later discover that they had collectively celebrated a game in which you collect dog feces. Brilliant!

• From JustJared.com, we find that Adam Sandler might be producing and starring in a Candy Land-based movie. As Columbia Pictures president Doug Belgrad helpfully noted in that item, Candy Land is more than a mere game – "it is a brand that children, parents and grandparents know and love". Ah, yes, and don't we all think about going to the movies on Friday night while saying, "I can't wait to see more of that brand that I know and love!" (HT: Dale Yu)

Cookie Disco (aka, Kookie Loeren) is available for online play – both real-time and with an AI – at BoardSpace.net. I won't link to every online implementation of a game, but for a design titled "Cookie Disco" I am powerless to resist.

• To follow up on the previous item, Cookie Disco has somewhat Hive-like play with the cookies sliding around the exterior of the main cookie mass, and coincidentally Hive itself has something newsworthy about it. From February 9-15, you can download the iOS Hive app for free. Why? A newsletter from Gen42 Games explains that while it's ready to release an updated version of the game, the developer account has changed, meaning that previous buyers would not be able to update their app for free. Thus, everyone benefits! (That same newsletter also mentions that Hive now has a distributor in Iran, and surveying that distributor's website is a nice counterpoint to the portrayal of that country that some politicians put forward. Oneness through gaming...)

• The nominees for As d'Or 2012 are up on TricTrac.net, and they are pulled from every spectrum of the gaming rainbow: Cubulus, Mansions of Madness, Troyes, Animal Upon Animal: Balancing Bridge and eight more. I don't know how anyone could possibly handicap this award.

Mental Floss rounds up 26 life-sized versions of board games. No Agricola unfortunately...

• The always interesting Chris Farrell has rounded out his end-of-the-year round-up of what's good and what's not by surveying the field of wargames. Previous posts covered board games and role-playing games. An excerpt from his board game report:

Quote:
This year is the first time I have ever felt fundamental disquiet about the broad direction in which things are heading, at least from the point of view of the sorts of games I like. I think there are a few reasons.

First, obviously, is the slow exit of Reiner Knizia, Klaus Teuber, and Wolfgang Kramer from the scene.... In a hobby dominated by a cult of amateurism, these three seasoned professionals have been the go-to guys for good games that push the state-of-the-art for almost twenty years, and nobody as yet is stepping up to fill their shoes.

Secondly is the apparent implosion of Fantasy Flight, the most significant publisher of hobby board games designed and sold in America.... Their output is of course rather large – 2011 releases fill two pages of search results on BoardGameGeek – but everything I played this year was completely derivative and dire, well beyond even my jaded expectations of mediocrity.... [Editor's note: Yikes!]

Thirdly is the maturation of Kickstarter.... Kickstarter can fill an important role, mitigating the risk of publishing narrow-audience or avant-guard games or helping establish companies that have a clear but untested vision. But we are already a boutique market that I believe cannot afford the pressures of a thriving vanity segment – a segment that was probably already too large before Kickstarter. The stuff that Kickstarter has funded so far has not been novel or risky. To the contrary, it's been entirely derivative, conservative, and well-served by existing publishers, a veritable cornucopia of vanity projects. To the extent that Kickstarter is used to fund endless new worker placement or deck-building games, its sole function will be to offload risk from publishers to customers, and the primary risk being offloaded is that the publisher won't do its job properly.
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Thu Feb 2, 2012 6:30 am
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Designer Diary: A Fistful of Penguins – A Fairy Tale Ending

Jonathan Franklin
United States
Seattle
Washington
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A Fistful of Penguins is an opener/family/children's dice game that is fun, light, and cute. There is also an advanced version, which was actually the game's starting point.

I have a soft spot for games like Fairy Tale, The City, and other short games that have combos – but not negative or brain-melting ones. I don't necessarily play those games to win; I play them to play well and have fun.

A Fistful of Penguins started as a dice game in which each face of the die had a special ability. That was about it. For example, what if the one pip and the six pip together made more than 12? What if each three pip face was equal to the number of three pip faces showing?

Stage A: The idea was that there were pennies as currency and seven identical dice. You got two pennies per turn and could use them to buy new dice or reroll one of the already rolled dice. Since some dice hurt the value of other dice, you did not always want to add more. At the end of your turn, you earned pennies from the bank based on your roll. You could also save pennies from turn to turn, so you could use none on one turn, then four the next turn. Whoever had the most pennies at the end of the game won.

I also tinkered with how many turns each person would have based on how many players were in the game, thinking that twenty turns for all players combined was about right. I have since learned that that is nuts! No one wants a game where you have to count the players to determine the number of rounds, and twenty is way too high anyway.

We all have plenty of dice around the house, right? Buy a few round white stickers and stick them over the faces of the dice, and you have yourself a customized dice game. It is also amazingly easy to modify mid-game.

I did know one thing starting out: If I ever wanted the game to be published, all the dice would need to be the same. It is expensive to make eight customized different dice. I don't know if this is true with stickered dice, but I started with that assumption and it did drive the design process.

Game design is not solitary, even if only one designer is listed. With Fistful, over ten people substantially contributed to the game, whether they know it or not. In early iterations, I forced the game on friends and family. It was okay. The combos worked. How do I know that? Well, no killer strategies showed up after extensive balancing. I also used my friend Excel to model situations. Calculating probabilities is tricky because you make certain assumptions, make a math mistake, then tweak a rule on the fly during a playtest that changes everything.

Ultimately, I went more with feel than with strict balance. At the same time, I was playing with what should go with the dice. The easiest and cheapest items would be a pad and pencil, but I sort of imagined the design as a bar/wagering game, so I stuck with pennies because they were waterproof.

Stage B: I was tired of luck, so I changed the game. The active player rolled three dice and showed them. Each other player then rolled one die (keeping it secret from all but the active player) and placed pennies next to that die to show its cost. The active player could buy that die to use the face that showed.

I enjoyed this because everyone was involved. Sometimes two people would price the same die differently, which led to interesting discussions that tended towards game theory: Did you help the active player more than you helped yourself by pricing the die that way? I still really like the game played that way, which made it into the rules as an advanced variant. Yes, your initial roll is luck, but the rest is based on your opponents. You might buy a cheap die just to reroll it – or an expensive one because if you buy a set from different players, it helps your roll more than the aggregate cost. There was no longer an option to buy an unrolled die from the bank. Nate Beeler encouraged me on this version, which was great because I thought I might be the only person enjoying it.

If you have gamed with a wide variety of people, you can guess the problem: Analysis paralysis. People started doing math in their heads based on what other people might have and how they might price their dice. Please don't play the advanced version with those folks.

Anyway, we had a game with dice and coins. It was fun, and everyone was engaged all the time. Yes, the die interactions were slightly mathy, but they were okay. I got up early one morning to meet Michael Adams for coffee and brought it along, as he had asked to see it. After a few rolls, he looked at me and suggested I try my turn again. It was odd as he was looking at me, not the dice. His next words really resonated and still do: "You are playing the game, but you don't look like you are having fun."

I had never thought of looking at the players rather than the goings on in the game. After some discussion, he had a killer idea to address the lack of fun. Instead of having the players spend their victory points to reroll/buy dice, add a different currency. At first, I thought that suggestion was stupid as it added more bits, reduced the tension of spending VPs to get more VPs, and did not add anything. As we talked it through, it became clear that the stress of whether to spend VPs on rerolls was negative tension, not positive tension. Michael is an experienced game designer, and I am not. His advice was worth its weight in gold coffee beans, as I told him at the time. Never mind that advice has no weight.

Stage C: I added a second currency, stupidly using pennies as the new tokens and poker chips as the new currency. (Can you spot the problem? Answer at the end of this paragraph.) I played with this idea and felt there needed to be more interaction, so I added a die face that stole a bit from other players – not so much as to hurt, but enough to sting lightly. This meant that at the start of the game I had to distribute pennies and chips to each player so they could lose money before making any. Because I did not want any targeted take-that, the stealing was programmed as "steal from the left". With one die showing that face, you steal one from the left player; with two dice, you steal one from the left player and two from the second left player. This added fun because you could sell the active player a die that would steal from someone else. At the same time, if everyone did that, you would lose more to the active player than you gained from the sale of the die. (Answer: Don't use money as points and chips as money. People could not comprehend that the pennies were not money but the plastic chips were. I feel that way when I play Fortune and Glory now.)

Stage D: I added the reroll currency to a die face. Even though Michael had suggested it, it took a while for me to change one of the die faces to give the player more reroll/"buy a die" tokens. This changed the game substantially because you could now get more rerolls than other players at the cost of getting fewer points for that roll. This was what eventually became the penguins.

Early versions of the animal dice
Stage E: I stink at themes. This game did not appear to have a natural theme. Up to this point, the dice had crude numbers and algebraic equations. Fun, huh? I made the rounds to the clipart sites and found a great one. Before telling you where I found it, it is useful to know the steps I took. I knew the images needed to be single color and readable on a die face, so I used Google Images, limited it to Icons and limited it to black and white.

The problem was what to search for. I thought transportation might be fun, so I looked for car/train/plane icons. I found a great site, then asked friends and family about the idea of transportation as a theme. The looks I got were glassy eyed stares or polite "Oh, that sounds nice". Ugh.

At one of the sessions, Lizzy Palmer mentioned animals and while that seemed boring to me, I added it to the list. In polling (aka, bugging) people, a diverse crowd liked the animal idea. I knew that people liked Zooloretto because of that panda on the cover, so I started tinkering with animal icons that I found at that site: Icons etc.

I don't have mad computer skillz, so I found a freeware program called Inkscape, which I totally recommend. Even better, although I did not know it at the time, the icons I had chosen were svg files, which meant they were vector graphics, which I subsequently learned are great because they are resizable without problems. Armed with Inkscape and animal icons, I went to work iconifying the die faces. This worked out well, and by the end of this process, I had prototype dice, pennies, and chips.

I tinker too much. I had a combo of a moose and a squirrel scoring more than they did separately. I liked Rocky and Bullwinkle, so it was an easy inside joke. At one point I changed the squirrel to an alligator, thinking that was a more memorable animal. The playtesters howled and threw me out of the room until I changed it back to a squirrel. The homage lives on thanks to them.

Moose and squirrel live on!

Stage F: While continuing to playtest, having a theme leads to starting to think about a working title. I went through at least twenty working titles, knowing that the publisher would likely just change it. The best title by a mile came from Lizzy: "Roll Through the Cages". At the same time, feeling I needed a title that was not an inside joke, I called on my word- andpun-loving sister in Boston and dad in Portland, Oregon. They knew I was working on a dice game that had an animal theme and came up with tons more ideas. My title at that point was Zoo Dice. Inspired, no? Well, my sister came up with As Zoo Like It and the name stuck. Yes, it was punny. Yes, it was longish. But honestly, it had a fun to it that while highbrow was also immediately recognizeable to many.

Stage G: Okay, now we have a game with a title. There is this very important phase I have not touched on yet: rules. Rules are hard to write. My game had three bits, yet it took forever to get the rules clear. Then there would be a tweak and three sections would need changing. This took a good chunk of time because six pages of rules for a family dice game is not a good thing. This took forever, but I am not sure what else to say about it.

One interesting aspect of writing rules is that you come up with edge cases that have never occurred in playtesting. Often it is because the situation does not break the game and offers no player any benefit. You can try to break the game as a playtester, but there are always things you never thought of.

Another area of contention was the tie-breaker. Assuming more than one player has the same amount of money, should the tiebreaker be points in the last round (not easily trackable), number of penguins left over (weird), or turn order (with the later player winning)?

The publisher later solved this problem with a roll-off. This raised the question of whether unused tokens should have any value at the end of the game. The problem was that if you rolled penguins in the last round, they were useless as you had no next round to carry them over to. At the same time, adding a substantial value to penguins in the final scoring seemed antithetical to the two currency design. Nate broke through on this one, suggesting that penguins could be cashed in mid-turn. This saved the penguins in the last round and also permitted a rule that was not round-specific. I hate niggly rules for narrow situations that players easily forget. By making penguin dice cashable mid-turn, they had good value and could be of negligible value at the end of the game without ruining their value for the last round. In addition, because cashed penguins did not go back into the dice pool, players had a harder time getting nine kangaroos, the highest scoring roll.

Stage H: Once you have rules, wonderful things can happen, like blind testing. Well, I sat in on a few tests and quickly noticed a problem. For the first few rounds, people could not remember what the dice were and how they interacted. This was a large barrier to entry. The animals totally helped because they were semi-mnemonic in that you could remember that the camel was five points. Once people got it, everything was fine, but the start was a problem. At this point, I decreased the starting number of dice to make it easier to calculate for a newbie. I also added the ever-necessary player aid. Why didn't I think of adding it earlier? I have no clue. If you have a game in the works, stop reading and go make a player aid for your game. Then pick up this saga again.

The playing aid in the published game

Stage I: Things were going fine, but the game was still slow with those with AP. As I did solo playtesting, I could not easily price dice to sell to myself, so I started using a pile of dice and permitted myself to buy a die for a token instead of just using them for rerolls. This worked okay and greatly the game's fiddliness, but at the cost of having everyone engaged. Suddenly, the game dragged with lots of players because you didn't care that much about what others were rolling, even if they could steal from you occasionally. At this point, I veered off into the woods in search of a way to engage everyone while keeping the idea of the active player. I never quite found it, but have hope that some day I will. When I started testing this version, a nice thing happened. People debated what they would do if they were in the active player's situation. To this day, I can play with my family and think it obvious that my daughter should go with lions when she chooses to go with moose and squirrels. I like that in a game.

Stage J: Well, it was about time to take it to a con and expose myself to the slings and arrows of more people. This meant buying boxes, making box labels, getting enough dice, pennies, tokens, rules, and player aids for a few copies. Animals was a fine theme, but I talked to Dale Yu briefly about this and he, I think, mentioned the idea of showing that the game was amenable to licensed properties. Off I went. Knowing the two biggies, Hasbro and Mattel, each had licensed properties, I added a Star Wars-themed die and a die of Disney princesses. I liked them. I believe this is commonly known as putting the cart before the horse.

Stage K: I arrive at the con with my proto as well as parts for a few more. I am excited. I sit down to play with Kris Gould of Wattsalpoag Games and Mik Svellov. Kris had played the game before, but perhaps had not seen a recent version. Kris had a great idea about the game being too tight with rerolls and suggested that the first penguin should be one reroll token, but the second one should be two, etc. Wow. It really opened up the game without adding much length. In that same game, Mik was frustrated that each token could reroll only one die, so we scrapped that on the fly and permitted the rerolling of all dice for one token. Okay, here I am at a con with printed stuff and we just changed the game in two major ways. Luckily, a thumb drive and a hotel business center was all I needed. Presto.

Stage L: My first pitch, with Mike Gray of Hasbro. He was very polite and talked about what he did and did not like about the game as well as how it might and might not fit into its product lines. It was enlightening in a new way. I had thought about a game as a standalone item, possibly with a license slapped on it, but no, there was a whole big world out there. Hasbro + dice game = Y_h_z_e. A dice game would go to the Yahtzee division, and they were not looking to develop products to compete with their flagship. Duh. I'm not saying my game was going to compete with it, but it highlighted that a pitch has to do with far more than the game, including other products coming to market and in development, new licenses that are being negotiated, and tons of other things that you have no ability to know about. He had great ideas for the game as well and was extremely generous with his time. He was also the first person to mention the idea of target audiences in a concrete way. I took that with me, and it helped with subsequent pitches because I customized the pitch to both the company and to a target audience that its product line already reached. One idea that I learned about later was the idea of creating a sell sheet on the game, so publishers have a takeaway even if they don't want a prototype at that time. (Designer Jay Cormier has helpful advice about sell sheets on the Inspiration to Publication blog.)

Stage M: After a marathon of pitches, a few publishers wanted prototypes. I stayed up assembling them and handed them out. The game industry moves slowly and I got some feedback quickly and some not so quickly. I am now jumping ahead about six months.

Stage N: At a prototype session, Kris Gould asked whether my penguins game was still available. I said yes, thinking it was small talk. Wattsalpoag had exclusively published Kris's designs to date, but he expressed interest in the game, and I happily handed over the latest version, including some post convention tweaks, but nothing major.


From Stage N to publication was a total rocket. A few changes were made to the game, new art was created for the dice by Mike Raabe, who works at Wattsalpoag and has illustrated Guillotine, Magic cards, and tons of other cool things that I learned about only after the fact. He also created the amazing box art, and Kris and Mike worked tirelessly with the fabricator to get the penguins, dice, and everything else just right. They did an unbelievable job in a short time.

I had a minor rule suggestion and only then learned that the rules had already been translated into four languages. I had never even thought about the lead time needed for rules translations. Anyway, all was well and cruising along. Before I knew it, Spiel 2011 had arrived and Wattsalpoag was featuring the game, retitled (correctly) by Kris as A Fistful of Penguins.

It did not seem real, but I was astounded to hear that the game sold out at Spiel on opening day. [Editor's note: Jonathan has written about his initial response to the first public reactions to the game, as well as other after-publication topics, on Opinionated Gamers.] After Spiel, the rules were reprinted for all the copies not shipped to Essen and a few chips were swapped out to make the game more colorblind friendly. Now the big distribution is starting and we'll see where it goes from here.

All I can say is that it takes a village to make a game. Thanks to all!

Jonathan Franklin

Okay, seriously that's waaay more than a fistful, Mr. Franklin!

P.S.: Stuff left out:

• Kris's initial offer at the Gathering of Friends, which I did not realize was serious
• Jesse's input as I cannot remember anything concrete
• How I carried the game around in a tiny green box due to a desire for portability
• Poker chip denomination confusion – I assumed red was $5 and blue was $10
• The addition of penguin chips, kanga chips, and solo rules
• Don't contact game company personnel via private (Facebook) routes
• Choosing to pitch the basic version rather than the advanced
• Distracted pitches, with a game rep watching Mindflex behind me
• Cooperation, with Peter Eggert suggesting I talk to Christian H.
• Other contributions from other playtesters?

Image courtesy: Bruce Allen, aka Arzach
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Wed Feb 1, 2012 12:00 pm
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Nürnberg 2012 – Pics from Set-up Day

W. Eric Martin
United States
Apex
North Carolina
admin
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[Editor's note: As he did in 2011, Rob Harris (aka, whistleblower) is sending short reports from Spielwarenmesse, the International Toy Fair taking place in Nürnberg, Germany February 1-6, 2012. I forgot to help him set up placeholder entries in the BGG News system and he reports that connectivity is terrible, so I'm running this first item sent by email under by own name. –WEM]

Greetings from Nuremberg, the home of the world's biggest toy fair. You can find everything here from model railways to fancy dress costumes to (of course) board games. New games and big announcements will come during the week, but Tuesday was set-up day, with everybody frantically building stands and getting settled.

Afterwards, it was straight to the Toy Fair awards ceremony. Special congratulations to HUCH! & friends, which won the "teenager and family" category with its Talat board game from designer Bruce Whitehill.


As usual the ordinary children on stage stole the show, disrupting the perfectly choreographed presentations. The most talked-about toy nomination in the baby/infant category was a Fisher Price device to protect an iPhone when a baby is playing with it!?! There really is everything imaginable at Toy Fair. [Editor's note: You can see the Laugh & Learn Apptivity Case here, along with the nominees in all the categories. –WEM]

The real fun and work starts tomorrow...

Hive designer John Yianni – with whom Rob Harris is traveling – sets up the Gen42 Games booth


Hurrican prepares to have retail reps feel the same bits in Dr. Shark over and over and over again
– okay, hopefully not


The USS Enterprise hovers over a Star Trek Catan banner at the Kosmos booth
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Wed Feb 1, 2012 5:21 am
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New Game Round-up: Wallace Takes to the Sky, Germany Gets New Tickets & Crazy Creatures from Dr. Schacht

W. Eric Martin
United States
Apex
North Carolina
admin
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Mayfair Games long ago announced that Martin Wallace's Steam and Automobile would be part of a transportation-themed trilogy and now the U.S. publisher has revealed the third title in that series, which is due out May 2012. Here's the description of Aeroplanes: Aviation Ascendant

Quote:
Aeroplanes: Aviation Ascendant explores the dawn of commercial aviation, an exciting era between 1919 and 1939. Experience the difficulties and triumphs of commercial airlines in Europe, pioneering airports and service in continental Europe and around the world!

Aviation spurred the growth of intercontinental travel, and airlines struggled to dominate the regions of the globe that they served.

Rapid technological advances in planes play a vital role in this development as you compete to purchase newer more efficient aeroplanes, build airports, and move passengers around the globe. Earn bonuses and prestige for being the first to fly to North or South America, and win by maintaining the most airports around the world and by running your airline profitably.

Can you balance your investment in aeroplanes, customer service, and routes well enough to become the premier airline of the era? The fate and future of air travel lies within your hands!

Days of Wonder has now dropped details on Zug um Zug: Deutschland, which I had brought up seven days ago in another new games post. At the time, one wag responded, "I thought Ticket to Ride: Märklin Edition was TtR: Germany." To which I rebutted, "Well, we'll see about that, won't we? Personally I can imagine the desire – from both the public and the publisher – to have a less fiddly version of the game set in the German landscape."

Turns out that we're both right. According to DoW's Mark Kaufmann, Zug um Zug Deutschland is a complete, standalone "adaptation of the same map and routes first introduced in Ticket to Ride: Märklin, with a thematic change, the map now being set in turn-of-the-20th-century Germany. The game rules do not include the Merchandise and Passengers mechanisms present in Märklin."

Kaufmann notes that Zug um Zug Deutschland was developed and produced at the request of Asmodee GmbH, DoW's German distributor, for release in the mass market. Accordingly, this game will be sold only in Germany and Austria in a German-language edition. Says Kaufmann, "It is expected to ship during the second half of 2012 with pricing and specific availability dates to be announced later by Asmodee GmbH. Ticket to Ride: Märklin will continue to be available worldwide in English, French and German language editions."

• Dutch publisher White Goblin Games has announced two more card games for release in March 2012 to go along with the previously revealed Crooks (designer diary here) and Little Devils. These new titles are a trick-taking design from Leo Colovini called The Witches of Blackmore in which you try to collect witches in tricks to acquire magic points and Michael Schacht's Crazy Creatures of Dr. Doom, which is described as follows:

Quote:
Strange noises are heard from the Mad Mansion of Doctor Doom. Clouds of all colors come out of the chimney, and people tell weird stories about crazy creatures seen in the forest around the mansion. Help Doctor Doom finish his extravagant experiments to create the world's wackiest and craziest creatures ever seen!

In Crazy Creatures of Dr. Doom, all players try to get rid of their cards as cards in hand score penalty points at the end of a round. The player with the fewest penalty points at the end of the game wins and becomes Doctor Doom's new apprentice!
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Tue Jan 31, 2012 2:00 pm
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Designer Diary: VivaJava: The Coffee Game – Portrait of a Young Designer in Love

TC Petty III
United States
Carlisle
Pennsylvania
designer
VIVAJAVA 2012!
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Hello, world. You don't know me, but you soon will because I have things to say that will excite you. Call me T. C. Petty III, designer of VivaJava: The Coffee Game. And I'm an elitist, pretentious, Eurogame fanatic.

The Game About Coffee

My attachment to the coffee theme is strange and in direct conflict with my past. When I was seven years old, my parents' relationship became strained – or more pronouncedly strained since my earliest memories rarely include a night without a loud argument. My father was continuing to find work in sales within the emerging cellular phone market, but the leads were varied and the fierce competition led to extended dry spells with low income. And my mother, not finding fulfillment within her spiritual or physical life, turned to the Mormon church and discovered a renewed strength and faith. My father was resistant to conversion, preferring an agnostic outlook, but I was baptized when I turned eight and my family continued to attend church until I left for college years later.

And this is where the split occurs. Multiple conflicts. The Mormon church is specific about coffee and tea, labeling them as essentially unclean to drink. For a practicing Latter Day Saint to enter the temple, he must have not imbibed coffee, tea, or alcohol within a year of the visit. This is all reliant on an honor system, of course, but being caught in a lie could result in excommunication of the member.

I had made my choice to start sliding off the wagon when I chose a girlfriend and college over a mission. Every Mormon boy, when hitting age 18, is expected to go on a mission for two years. This is not a requirement, but it is highly recommended since it is essential for a man to give himself to the lord for this period before he may enter into heaven (celestial kingdom). There are some other iffy options later in life and post-death honestly, but that's the basic idea. Instead, I said that I was in love and that I could not possibly go on a mission. I also said that I was in love and therefore went to a college that I had never intended to attend. So after the ensuing break-up and four years (and a summer session) of misery, I returned home with something that said I was officially "good at English".

But during that time I had broken nearly every tenet of my religious beliefs, knowingly and specifically. I lost my virginity at age 19; I remember it was sometime after Thanksgiving because the Jeep Cherokee was chilly and the windows were frosted with steam. My first sip of alcohol was at age 23: a jager bomb at a gay bar in Morgantown, WV. I had been slowly peeling back a mask of guilt and becoming my own person, with a logical outlook on the direction of my life.

I can't exactly remember the day when I started drinking coffee. I mean, it kind of sucks that I don't because of this diary, but I don't. It was sometime after my parents could no longer afford their mortgage; sometime after I quit my job on a loading dock after college. I simply remember buying a personal-sized coffee maker with a clock so that I could set it to begin brewing fifteen minutes before my work-alarm sounded. Whenever that smell tickled my nose hairs, I could see my grandmother offering me a sip of her coffee when I was five years old: the smell that defines warmth, like a cracked walnut simmering with bacon and covered in cinnamon; the bitter edge of the porcelain cup and that signature taste that lingers on the tongue. And I could experience that deliciously sinful slice of enjoyment every single morning – and it was god damningly good.

So while I don't continue to practice any form of religion, I very much respect those that choose faith and worship as the lessons I've learned about humility, charity, and good works have shaped my moral compass. I just believe that my decisions are good because otherwise, what's the point? My entire identity is defined when I take a sip of coffee. Dysfunctional and all.

Coffee Talk and the Prototype

The truth is, I've lived a low-middle-class life with more opportunities than most, so if the previous section seems exceedingly morose, get ready for some real peppy storytelling. After a stint where I attempted to write, draw, and publish my own one-shot comic book, I found a job as a dispatcher at a transportation company that changed names three times during my stay – and it was at this time, in February 2009, that I walked out of a Starbucks with an idea for a game.

While sipping some sort of expensive seasonal blend, I asked myself what kind of board game a large company would design if it wanted to offer the right image. A large coffee company, mind you; Starbucks, for example. I reasoned with myself that a game where all players competed to make the best barista shop in town would be the most plausible. That would be the American way to do it. But why would a company want to compete with itself? And if this big, branded company has multiple stores or franchises in the same area, why were some stores better than others? It didn't make sense.

And neither did a co-op game at the time. Pandemic had come out the year previous, and I had played it out to the point that another co-op game with players fighting against a game system that could increase difficulty only by increasing randomness made me feel a little sick to my stomach.

So when I made it home, I scanned the Internet for info on coffee and found an image that had divided the world into the three major coffee regions. Ding! Within seconds, I had the mechanism. Players wouldn't be baristas; they would be those stylized field researchers that I was used to seeing in commercials. Each player would travel to a country in one of the three regions in the world to find coffee beans and once all players had chosen, they would split into teams based on which region they had chosen. Then, ???. And after that mysterious action, they would make a coffee blend beloved by coffee drinkers around the globe. Ingenious!

But what did you actually do?

A meeting was called with my good friend, Tim Hing, and over a fine Denny's breakfast where I remember scarfing down fried, syrupy, coconut-pancake balls, we brainstormed the actual mechanisms of the original prototype and nursed some cokes with real cherry syrup added. I explained to him an idea where I would have bean cards of differing colors and that these cards could be ranked somehow as Blends. Then players could add flavorings to improve the marketability.

His superb contribution is and will always be the inclusion of actual beans in the game. We had both recently played the game Thebes and generally enjoyed it – but he absolutely loved the "pull stuff out of bag" mechanism (which I think most every gamer enjoys for some reason). I pointed my sticky coconut index finger to the sky to indicate how much I enjoyed his line of thinking. So I greased my way out of the bench and went to work creating a workable prototype with some semblance of order. That night, we devised the five-bean blend system and the simple poker scale ranking that would define the game's scoring.

I'm neither a fast creator nor a slapdash, here's-my-mechanism-let's-just-play-it kind of designer. I agonize over the details and playtest the game in my head as I lay the foundation. Even so, there are a million uncontrollable variables, and one of the downsides to creating a game in which color is important (aside from the logical improbability of being color-blind friendly) is that the initial attempt at a prototype is much more difficult. My girlfriend at the time surely enjoyed the late nights as I curled up under the covers with a laptop, aligning random circles and squares into a relatively pleasing formation. Nearly three weeks (admittedly with some slacking) of typing and clicking and dragging and assembling 30,000 layers and it was nearly done. I'm not a professional by any means, and I usually make due. This is why the first prototype was printed in Word and half the game was created in Excel.

On July 4th, 2009, at a Fourth of July party with my friend Mario Arnolds's big Italian family, my as-yet-unnamed coffee-themed prototype made its debut. The six-player game was an epic event, clocking in at a staggering slog of nearly four hours. My rules explanation was also a terrible mess of a thing as I tried to explain the mechanisms without fully understanding how the game would play. Graciously, two non-gamer cousins stuck it out for the entire game and they actually had very positive things to say. But for me it was an insane victory! The game didn't break. The main complaint, though, was that there was too much... everything.

In August, I gathered up my courage and headed to the WBC for the first time. This marked both my first time at a convention and my first time alone at a convention. Also, it marked the first time that I was comfortable enough with a game design that I was willing to share it with complete strangers. Amazingly, I was able to befriend and trick seven players into a game.

Happily, this playtest emphasized more of the problems that had surfaced slightly within the first playtest. I craved constructive criticism after the relatively stable first game. The main issue was the power of the rainbow blend versus the five-of-a-kind. At this point I had not discovered a way to change the ranking of the Blends on the best-seller list – something present in the final game – and what I hadn't anticipated was that when the game scales to teams of three with seven players, it becomes much easier to create a rainbow blend (a blend with five different bean colors) than with teams of two. This caused a situation in which a team created a bestselling blend early in the game and stayed at the top of the scoring list for an extremely long and unfair amount of time before it was knocked down. Because of this and other similarly unbalanced reasons, there was a clear winner and a large disparity between first and last place.

After the game was over, however, I received more genuine compliments than complaints and a pledge to play again. Considering the game was on its second playtest and barely two months old at the time, they were impressed by the progress. I remember feeling dread when I was cleaning up as I thought that it might be a while before I could figure out how to fix the looming issue of the bestseller list being unbalanced. Thankfully, I spoke to Tim Hing a few days later and he suggested something which I initially deemed too fiddly but quickly acknowledged as sound advice. And, so, the degradation mechanism was born. After Blends score each turn, they lose a bean, effectively causing them to stale and allowing room for new Blends to slide in later.

The Name of the Game

Eventually, the constant moniker "The Coffee Game" became tired and silly. It was time to create a dull, sensible name that encapsulated the basic premise of the experience, but didn't oversell it or represent it as something it was not.

And so, the game was originally entitled "DeveJava". This name was chosen for two reasons. One: My friends would absolutely hate it. They had been trying to convince me to give it a "snazzy" title filled with zazz and mass appeal. "Coffee Wars", "Cappuccino Capitalism" or any other combination of words that had alliteration and a synonym for "battle" in the name were suggested. And vetoed. And two: it combined (abstractly) the words "development" and "coffee" in a way that could be easily adapted, without change, to an international audience. I was really crossing my fingers that my friends overseas would go bonkers over a game like this.

Shortly afterwards, in October 2010, I entered the game into the Rio Grande Game Design Contest. The location was Congress of Gamers in Maryland, and the little designer room was a stuffy converted classroom with a circle of tables at center.

I mention this event not only because it was the debut of DeveJava, and not only because I claimed third place, but because I was able to playtest my game one time to a resounding success. And even though I was not able to be there for the second day that weekend due to a friend's wedding, the other designers pulled out my game and played again the next day. They had all retained the knowledge of their first play enough to teach it to new players, but also were enamored with the design enough to actually play it a second time. I have to wipe away a small fake tear from the corner of my eye when I mention it. It was awesome. It spurred me on to focus.

One of the designers, John Moller – who took second place with his game Flummox – then contacted me about an Unpublished Games Festival in Dover, Delaware in January 2011 where I was able to meet up with many of the designers from CoG, in addition to making a whole new set of friends. Due to John hyping my game, I was able to set up and play DeveJava within a few minutes of me arriving. I met Darrel Louder, the designer of Compounded, one game I very soundly enjoy. Both had an instrumental role in the progress of my game.

When I arrived home after some incredible playtests, I redefined my new year's resolution: 2011 would be the year that DeveJava would be signed. No more waiting around for something good to happen. I would work toward finding a publisher, and by December I'd be refining my game for publication.

Insert Origins 2011 here. Months in advance, I had planned to take the required three days off work to attend Origins, but I made no prior arrangements. John Moller, in an attempt to fill a recently vacated spot in his hotel room, contacted me to see whether I had lodging for the show. Ding! I signed up quickly to take the place of his missing tenant. This decision could have possibly been the best decision I've ever made in my thirty years of life.

Again, when I arrived, John Moller was instrumental in motivation. He introduced me to Tartan Grizzly, where I was able to pitch my game hours after the dealer room had opened. This invigorated me, and while the explanation went well, I did not expect a follow-up from them. I made sure to shake hands with Stephen Buonocore of Stronghold Games and Travis Worthington of Indie Board and Cards, then did my best to mill about in the Board Room, observing other games, playing some prototypes, and talking to other designers.

Then, John introduced me to a group of guys as he was playing an early prototype created by David Mackenzie of Clever Mojo Games. (By the way, I'm almost done name-dropping – just please bear with me.) In this charming group was also the famed podcaster/reviewer Chris Kirkman of Dice Hate Me, which I, of course, had never heard of. Who listens to podcasts? And his friend, Shawn Purtell. So somewhere in between plays of Swinging Jivecat Voodoo Lounge, Carnival, Time's Up! Title Recall, Dice Town, and an epic game of Troyes, I was kind enough to share my game with the group – and they played the shit out of it.

Being a game designer, I have that distinct task of determining whether a player of my game truly loves the game or is simply smiling along with everyone at the table while secretly wanting to stab out his eyes the entire time. And sometimes it is so indistinguishable that I always take the humblest of routes possible and demure with grace. I had been burned with false positivity for my game Burrito in the past, so I was highly critical of their responses. However, something about the way I was suddenly befriended and included into what seemed like a tight circle of critical but approachable gamers piqued my demoing interest. David, while getting a chance to observe the end-game, even asked me to stay in touch, saying that he might have been interested if he did not already have four larger games in his line-up. It was a huge beaming smile of a day. And when we all said our goodbyes at the end of the weekend, it was clear that I had gotten my foot in the door of this crazy publishing world – now all I needed to do was make more connections.

Oh yeah, and DeveJava didn't end up being the title of the game.

No, Seriously, I Want to Publish Your 3-8 Player Game

Chris from Dice Hate Me (Games) contacted me by email within the week. I had taken along little cards with the DeveJava logo which I tried to photoshop nicely, and I wrote my email on the back of them. As I think back, this was a very good idea and I highly recommend having an unconventional business card for these conventions. Chris said that he really enjoyed the game and could not get the potential out of his head. I assumed that maybe after Carnival was published, we could possibly talk about options and I even mentioned this in my next carefully worded, but short email response.

He was quick to reply: "At this point, I'd like to do more than discuss our options – I'd like to propose a contract."

And my heart leapt! Then immediately sunk.

Here is the thing about my personality. I get very excited sometimes, this being one of those moments. I wanted to run to the window and scream gibberish, but it would have done nothing since my view at the time included the scenic tarped side of someone's boat (along with the fact that the windows were old and hard to open in the first place). I controlled myself and immediately had a flash of trepidation. This was not how it is supposed to go.

This is not how it is supposed to go. I had read Brian Tinsman's The Game Inventor's Guidebook, which includes a section on game submissions, contracts, large publishers, and small publishers. He didn't write anywhere that you demo your game at a trade show, after which one player decides he wants to publish, then contacts you with a proposal. In fact, I think somewhere inside those pages he mentions that one is to be wary of things that feel too good to be true. This is not how it is supposed to go. Sure, I made a new year's resolution to have my game published, but publishing my game with someone I had just met, was completely untested, and had their own game to publish first? If Carnival would fail, my dream would likely be crushed.

But as we talked, it became clear. I had played Carnival at Origins. I knew what Chris could do in a short period of time, and he seemed genuinely interested in creating unique games and themes, and he acknowledged the leap I would be taking in going with Dice Hate Me Games. Plus, he said, if I didn't like how it turned out, the contract would dissolve in a year and I'd have a tighter game to show to others next year.

Boom! I shook electronic hands and by WBC 2011, VivaJava would be the new release for Dice Hate Me Games in 2012.

VivaJava. Yes, the name changed by two letters, but honestly I think it was good change. Life. Coffee. I don't want to get too sentimental, but to take the game name and tie it back into the last six years and all the friends I've made and all the coffee I've drank. All the bad and all the good going on simultaneously in my life. The games I've played and the people who cheered me on even when I would have rather given up and played video games for the rest of my life. VivaJava fit pretty well.

That wasn't it, though. The story doesn't end in triumph, obviously. Chris had a caveat. He issued a mighty challenge by creating a promo image in which the original VivaJava can mock-up read, "2-8 players". At this point, the game was only a 5-8 player group experience, and rightly so since it relied on the group dynamic and changing alliances. It would be difficult to play a game in which teams were created every turn if only two players were playing.

But I had a plan. I gave it a few weeks to stew and after much soul-searching, I promised Chris a game for 3-8 players. Sorry, couples – VivaJava is for threesomes.

With a Little Inept Help From My Interns

Luckily, after Origins I had a long car ride home in solitude to sort out some of my ideas and unwind from what had been an excellent and exhausting experience. Even before Chris had issued the official challenge, players had mentioned that they would be hard-pressed to get the game to their table since they had only three or four regular players. This lead me to Steak and Shake, where as I sipped on a cherry chocolate milkshake, I began to formulate the San Juan to my Puerto RicoVivaJava: The Coffee Game: The Card Game (VivaJava: TCGTCG). The idea was to attempt to recreate my original game from an entirely new perspective, breaking it down to its most basic components, yet still retaining the flavor of the experience. The card game would have to offer a play option for fewer players because I'd never heard of a card game (with the exception of Werewolf) that has a minimum number of players over four. And by streamlining the play down to only cards, without any form of tokens, I realized that a strategic element was missing.

My "eureka" moment came when I crossed over onto I-76 and made the word association. "Interstate" became "Interns" and VivaJava was introduced to the world of "normal" player counts.

What eventually became the "Intern Inspansion" took me a little out of my comfort zone, which is excellent considering how invaluable the first playtest of the mechanism proved to be. It was as bare bones as it could possibly get. I had three four-sided dice to represent random Interns – that's it – as I had no clue what problems to anticipate and only a vague idea as to how the mechanism would work. (Thanks to Rob and E. B. Singer for sticking it out until nearly midnight on a Tuesday.) And yet, in this vague playtest session the theme solidified and merged with the game play.

My original design was flawed in the sense that only once in the entire game did any of us choose to work together. In a social team-up game, this did not sit well with me. We quickly determined that if the Interns provided a big advantage, then in a three-player game no one would blend with another human player. On the flip-side, however, if Interns had no use other than "extra beans", then they would be completely ignored and the rounds would become fairly static. A balance was needed in which players could invent a strategy that included using Interns for both Researching and Blending, but this choice to exclude other players would always come at a cost, whether immediate or long-term. "Interns are inept" was the mantra. And in all truth, the discovery of this balance was one of those "light bulb" moments that makes extensive testing and game design worth it. I was able to create a deck of 24 Intern cards over the course of a week and standardized a rule-set which allowed me to confidently say to myself (and Dice Hate Me Games), this is doable.

In short, a player may ignore Interns completely, but casual use by other players would cause the game the shift in their direction dramatically. Alternatively, players could utilize Interns every turn of the game only to find out that the costs far outweigh the benefits by the end. It is this balance that defines the experience of VivaJava itself and emulates the larger 5-8 player game. Sticking to one strategy and never straying is not the way to win the game; tactical decisions and opportunities are presented every turn, and learning to balance a solid strategy with greedy moments of excellence is the way to victory. The Interns were more than an expansion; they were an integral and important element of the game. Sure, the play-style with 3-4 players relied less on player interaction for obvious reasons, but the core "feel" of VivaJava remained intact.

While I included a set of Interns in the exclusive hand-made VivaJava prototype that I created for the Dice Hate Me team before the WBC, the Interns didn't really debut for them until September when I visited them for the first time. And don't let Chris and Cherilyn fool you. They may be fond of the grassroots, social media marketing and may be extremely cute to each other – I saw them have a little tiff when I last visited and even then it was achingly, mind-numbingly cute – but they also have a hip apartment in a refurbished tobacco factory (see Kickstarter vid). And rightly so, as their credentials are numerous and they are both smart cookies. They're just a chic couple always ready to provide gaming snacks, with a fond love of the community – and they were very happy with the Interns.

Remember how I said, "this is not how it's supposed to go" at least a million times? Well, the distinct advantage of actually liking your publisher and enjoying their company (business) and their company (companionship) is that the entire process of revision after revision, playtest after playtest, becomes a much easier pill to swallow. They are there and attentive and helpful every step of the way. I still love my game, but as any designer can attest to, the process never ends. The decisions become more and more specific over time, and each finicky detail is an agonizing choice. And with an admittedly complex Eurogame like VivaJava, it was invaluable to have a capable team. Some people call their project "their baby", and I am guilty of that easy association, but it's true. Making the initial zygote is the fun part, but once mitosis begins and the prototype emerges from that warm, amniotic gaming womb, it requires constant attention and love and guidance. You can't just slap a game on the butt and place it in shrinkwrap.

And of course, even eight months later we are still refining the experience to perfection (or the nearest proximity). Each blind playtest, each new player and her suggestions, each new experience adds another notch on the wall. Thankfully, my game designer ego is still in its infancy, so while I can still be a diva sometimes, I give legitimate credence to each player's gaming concerns. We can't please everyone, but hopefully we can give some jaded gamers a quick jolt of caffeine and create a game accessible enough that casual gamers can jump right in.

Why You Absolutely, Positively, Shamelessly, Must Buy/Support This Game (Please!)

For me, VivaJava is the end and beginning of a journey. Without being introduced to the wonderful and expansive board game community not even ten years ago, I would have never been able to create something like this. And if I hadn't turned a spiritual corner, embracing and respecting the teachings from my past while moving forward on my own path, I never would have been inspired. The mistakes I've made, and the new friends, and the games I've played – they've all culminated into a game I'm proud to release.

I could expound upon my feelings for hours with champagne and tears. However, let's pause on the sentimental for a moment and see why I think you'll love the game.

I have a deep love for player interaction, something I think is sorely missing from games on the market today – but I'm not talking about "Take That!" cards or sticking a truncheon under the ribs of your friend's backside. I'm talking about real interaction, like when someone actually has to speak to another player during a game, or have a conversation in order to solve a problem, or when they have to work together. When a player's turn is tied directly into the actions of other players, that makes them pay attention and become actively involved. That is my goal. Positive player interaction is key. There's even a deck of Flavor cards in VivaJava that contains no "Take That!" cards – only difficult choices that can be used both negatively and positively and actions that can help enhance your team's strategy.

The game has multiple end conditions, plays in 60-90 minutes, and due to simultaneous actions and constant table talk, there is little downtime. There are no bathroom breaks in VivaJava as it's almost always your turn. With engine-building, collaboration, and a hint of luck, each game of VivaJava is different. Also, because there are some "hidden" sources of victory points, the game does not have a kingmaker problem that some games encounter. And since I'm the designer, and a vicious "gamer of the system", I can tell you that even with all these variables, the strategies toward winning are varied and interesting – but unlike most games, you can't ignore the social game and expect to win, nor can you ignore Research and expect to Blend your way to victory, nor can you focus on Research and cover your ears to the table talk. The winner will be the player who best employs all game elements.

Okay, I'm done advertising. I'm in love with my own game; it's obvious. I'm also extremely excited that I've made it this far.

But this isn't the end for me. This diary is only an introduction. I've been given a huge break and a golden opportunity, and I don't plan to waste my good fortune. I gambled on the right pony with Dice Hate Me Games and I have more ideas in the works, so I want everyone to know how much your support means to me, and I deeply thank you! The outpouring and response has been phenomenal even as I type these words!

This has been a dream fulfilled.

Raise your pinky! VivaJava 2012!

T. C. Petty III

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Mon Jan 30, 2012 3:49 pm
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Links: Free Rings, Shifting Origins, Revolutionary Strategy & Wood-for-Sheep on U.S. TV

W. Eric Martin
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• Alderac Entertainment Group has posted a free, downloadable version of its Legend of the Five Rings dubbed the "Kolat" edition. Says AEG's Todd Rowland, "In the attached PDF flyer, you can learn all about Legend of the Five Rings, and find links to the rulebook, and NINE fully playable printable decks, one for each Clan. And these are not cheap beginner decks, these have rares and were designed to hold their own at tournaments!" Well, okay, but "rares" in a PDF version of a game don't have the same cachet as rares on paper.

• Matt Morgan at MTV Geek has a long interview with Kathleen Campisano and Ellen Heaney Mizer from Barnes & Noble about how the largest retail bookseller in the U.S. started carrying board games and how that segment has grown over the years. Interesting to discover that Fantasy Flight's Civilization had a quick sellthrough. I'm still baffled that B&N stocks Agricola, given its $75 price tag – but clearly the chain thinks the buyers are there.

• Asmodee has posted a playful article titled "Making A Game: From Prototype to Project", which it promises is the first in a series showing how a game moves along precisely that path.

• Responding to complaints by attendees and attendee wannabes, Origins Game Fair has moved the dates for its 2013 show from May 29-June 2 to June 12-16, according to ICv2, with the idea being that the new dates should place the show after the end of most school years. The 2012 show, however, is still being held from May 29 to June 2, and the dates for 2014 (now June 11-15) and 2015 (June 3-7) are not locked in place.

• Designer Philip duBarry has published a strategy guide for his board game Revolution! on the Steve Jackson Games website.

• Purple Pawn's Sam Mercer has a long interview with Kickstarter co-founder Yancey Strickler.

• The French publication Jeux sur un Plateau has ceased publication, although the website is still up-to-date and apparently not affected the magazine going away.

Santiago de Cuba is now on the online game site Yucata.de on a beta basis.

• A Philadelphia, Pennsylvania TV station featured Dominion, Carcassonne and The Settlers of Catan on a brief parenting segment in early January 2012. In less than two minutes, reporter David Murphy bangs out descriptions of all three games and makes them sound a lot less "hey, gosh, isn't this keen" than the news anchor who opened the segment.

• A recent episode of the U.S. television show The Big Bang Theory featured many wood-for-sheep jokes, then just wood jokes, then more wood jokes with an erection kicker. Why does any sitcom still use a laugh track? Me, I get angry listening to the push-button guffaws. (Clarification of terms used below.) (HT: Chris Kovac)

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Sat Jan 28, 2012 7:48 pm
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New Game Round-up: Six Months of Releases from 999 Games, Pixellated Gaming & Gorgeous Ships Burn in Serenissima

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• Dutch publisher 999 Games has announced its release schedule for the first half of 2012, and while most of the games are Dutch-language versions of games originating from other publishers – a list that would be best viewed on Gone Cardboard, BGG's calendar of recently released and upcoming games – two items stand out. First, a new card game from Paolo Mori called Olympicards, which is briefly described as follows:

Quote:
Olympicards has the player athletes compete in nine different events, with competition taking place via card play. Each sport has its own rules for playing cards, so sometimes you'll want to sit out an event to conserve your strength, while other times you'll push yourself to the limit to win the gold.

Each player starts the game with six cards, each card having a number and color. On a turn, you'll play one or two cards until you cannot – or don't want to – play any more cards. The first player to drop from the event receives more cards for next time, while whoever remains in the event until the end wins the gold medal (i.e. points).

Whoever has the most points after nine events wins!

The other title of interest might be Metropolis, a Dutch version of the Tom Lehmann game The City. I know some folks' eyes rolled into the back of their heads when they saw the Klemens Franz artwork on the cards in that game, and I just wanted to clue you in that while Metropolis has new cover art, the interior art remains the same as earlier AMIGO release.

• Swiss publisher GameWorks SàRL has two upcoming releases that it's showing at the Nürnberg toy fair at the start of February 2012. One of those is Crazy Circus, aka Maniki!, aka Jungle Smart, a Dominique Ehrhard design due out Q3 2012 in which players are simultaneously challenged to rearrange three animals standing on two podiums so that the match the arrangement revealed on a card to everyone. Players need to use a combination of up to five different commands, with repetitive commands being allowed and sometimes required. The first player to call out a correct solution claims the card, and whoever claims the most cards wins.

Some players are terrible at this type of game, and some are awesome. I fall on the awesome end of the scale, so I asked GameWorks' Sébastien Pauchon whether the company had considered including a fourth animal to up the challenge of the game. Says Pauchon, "We tried that, and it is really super hardcore – so much so that our guess was 90% of the people wouldn't even play a second card." Ah, well, maybe we'll still get to see a seal or hippo added to the circus act some day...

Masomalo!

The other title from GameWorks is PIX, which has been in the works for a few years, presumably because of the difficulty of getting exactly the components needed to create this party game. The gist is that some players create images using only a few pixels, and the others must guess the image in order for both guesser and drawer to score points – but the fewer pixels you use, the earlier you reveal your image, thereby giving you a chance to look like a chump when no one can decipher your 8-bit doodle or like a genius when your iconic masterpiece is instantly named.

The downside of this release is that PIX will be available only in France, starting in February 2012 at the Cannes game festival. Said Pauchon on BGG, "Production costs are very high for this one, and when you add the shipping, the game is unfortunately unmarketable in the U.S. at the moment." The retail price in France is €30, which doesn't seem outrageous to me, but then I'm not the one tasked with shipping thousands of copies to North America, so what do I know?


•French publisher Ystari Games is still working on a local release of Alien Frontiers - the cover art of which was revealed in November 2011 by original publisher David MacKenzie of Clever Mojo Games – and while that's percolating, Ystari's Cyril Demaegd will instead show off a new version of Dominique Ehrhard and Duccio Vitale's Serenissima. Says Demaegd, "As it's a Descartes license, we'll do it with Asmodee in the U.S." He expects the game to be released in May 2012, and here's the cover artwork:


This new edition was discussed on the French-language forums of TricTrac.net in mid-2011, and BGG user Frederic Mariusse summarized the changes in this new edition as follows:

-----• Smaller game area
-----• One less resource
-----• No more "phases" system as a more clever and dynamic system will be implemented
-----• An unpredictable ending of the game
-----• Different combat system
-----• Rules for a fifth player

This assumes, of course, that nothing has changed in Ystari's plans for the game over the intervening nine months, but we all know that game publishers never change their minds about anything, so we can take this list for fact, yes?

• U.S. publisher Twilight Creations has announced three titles for the first half of 2012, two of them being sequels to existing lines: Zombie Survival 2: There Goes the Neighborhood (March 2012) and Humans!!! 3: ZombieCon (April 2012), with the zombies in this latter title swarming into a gaming convention in search of brains. So many easy jokes to make!

The third title, due May 2012 is Go Goblin, Go! and here's a description from the publisher:

Quote:
Beneath the mountain called Goblins' Rock, the goblins have been mining for centuries. They have dug deeper and deeper. Their precious ore is running out and the taskmasters are getting BORED!

So in order to pass the time, the taskmasters have taken to racing their underlings into a...PIT OF FIRE! (Underlings are expendable, after all.) It is agreed that secretly choosing their favorites would be best and the race would end when the "winner" falls into the pit. Oh, and there should be gambling. You know, just to keep it interesting!

Go Goblin, Go! is a light, standalone racing and gambling board game. You secretly pick three of the racing goblins and you get points based on where they finish. You manipulate their movement, so you have some control over where they finish. Just don't be first. The first goblin to fall into the pit "wins", but they don't get any points.
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Sat Jan 28, 2012 4:34 am

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