-
David ThompsonUnited States
Centerville
Ohio -
Undaunted: Battle of Britain is a standalone game in the Undaunted series, adapting the core gameplay of the previous games to recreate the dynamic dogfighting of aerial combat.
In Undaunted: Battle of Britain, you lead RAF or Luftwaffe aircraft and battle over the skies of Britain in the most famous aerial battle in history. In the game you experience dogfights and bombing runs, with British ships trying desperately to escape the Luftwaffe, anti-aircraft guns aiding the RAF fighters, and much more.
This is the story of how Undaunted: Battle of Britain came to be...
Origin
The origin for Undaunted: Battle of Britain can be traced to April 2021 when Trevor Benjamin and I were finalizing the details of Undaunted: Stalingrad with publisher Osprey Games. As we were putting the finishing touches on Stalingrad, we began discussing what the next game in the series would be. Nestled within a long email about Stalingrad was this sentence that Trevor and I had sent to Osprey:Quote:...or would you prefer to go with something totally crazy with a scale/scope change, like re-working the soldiers as planes and creating a Battle of Britain type game where you command a squadron of aircraft?Filip Hartelius was the lead developer at Osprey at the time and replied to the email later that day, saying:Quote:For future games, on account that Normandy, North Africa, and Stalingrad will exist, I would love to do something a bit different, so Battle of Britain seems like a great fit.
And so, Undaunted: Battle of Britain was born — or at least conceptualized! Osprey wanted it as a 2023 release, timed for either UK Games Expo (June) or Gen Con (August). Working on Osprey's typical timelines meant that Trevor and I needed to complete the core gameplay concepts by June 2021, complete 80% of the design by December 2021, and hand over everything by March 2022.
The timeline meant that Trevor and I would have just under a year to complete the design for the game. While a year might seem like plenty of time, we were also juggling quite a few other projects, our day jobs, and family life, so we got started right away.
Research
We immediately started to compile research material. We hadn't actually settled on the scale of the game yet, and our research would help us make that decision. Who were the players in this game? Did they control entire squadrons? And if so, what did each counter on the board represent? Each card?
We identified a TON of Osprey books that would help us out with the research stage. (One of the obvious benefits of making a military-themed game with Osprey is its massive catalog of military history books.) Osprey sent them over right away and Trevor and I pored over them, trying to identify the right time period, regional focus, and scale for our game.
Over the next couple of weeks, Trevor and I met often, comparing our research and notes, chatting about what we felt would make for the most engaging game, while also leveraging the core Undaunted system. We knew the game had to feel like Undaunted, but we were also willing to push the system to the extreme.
Ultimately, for scale, we decided that each player would command about four to six aircraft in each scenario. The counters on the board would represent the aircraft, while the cards would represent the crew of the aircraft. This kept Undaunted at the personal scale, which felt right.
The Setting
Although the game is titled Undaunted: Battle of Britain, its scope is technically a bit broader. It begins in May 1940 during the Battle of France and the evacuation of Dunkirk. It includes "nuisance raids" in which the Luftwaffe conducted small-scale attacks across the English Channel as early as June, and then of course the actual Battle of Britain, which began in late June. The final scenario in the game covers the Blitz, in which the Luftwaffe changed tactics and began the strategic bombing of cities.
The Design
In May, just a couple months after starting our work on Battle of Britain, Trevor and I reached out to Filip and Anthony Howgego at Osprey and let them know we were ready to show them the first prototype of the game.
This is an excerpt from that email:Quote:Gents, we're ready to show you the core gameplay concept we've developed for Undaunted: Battle of Britain. The concept is that the players play elements of the RAF and Luftwaffe from Dunkirk through the Blitz. Each unit = 1 plane, so players are controlling about six aircraft each in a typical scenario. We've included a couple screenshots from the most recent test (RAF fighters trying to stop BF 110C's bombing key targets, while they are defended by BF 109E/Fs).And here is one of those referenced screenshots, using prototype components in Tabletop Simulator:
Filip, Anthony, Trevor, and I met at the end of May, when we walked them through our prototype. Filip and Anthony liked the direction we were headed, so Trevor and I immediately went back to the design, began sketching out the general concepts for all the scenarios, and finalized our choices on which aircraft would be included in the game.
So What's Different about Battle of Britain?
While Undaunted: Battle of Britain uses the same core gameplay concepts and play patterns as the rest of the Undaunted series, it is also the most different and unique of the family.
First, there is the obvious difference of the transition from offset squares to hexes for the board. Topographically the two are essentially identical. However, Undaunted: Battle of Britain uses facing for the aircraft (that is, it matters what direction the aircraft counters are rotated), and that facing is easier to track with hexes. Similarly, unlike in other Undaunted titles, the aircraft in Undaunted: Battle of Britain can attack only in certain directions, which again, is easier to track with hexes.
Second (and this is closely related to the point above), planned movement is much more of a critical element of the game in Undaunted: Battle of Britain. Each plane has a Move rating, ranging from one to three spaces, that shows how far it can move in a single action. Accompanying that movement rating is a Maneuver rating. The Maneuver rating determines how many times you can rotate the plane counter during each action. For example, if you have a Spitfire that can Move 3 and Maneuver 3, you could move it up to three spaces and rotate it three times, all in one action. Each rotation must be broken up by movement of at least one space. Now compare that Move and Maneuver of the Spitfire to something like a Luftwaffe bomber that has a Move and Maneuver rating of 1.
But despite the superiority of the RAF fighters over the Luftwaffe bombers, the RAF will also have to deal with German fighters — and of course, both sides have to deal with obstacles such as barrage balloons and environmental conditions such as clouds. One last note about movement and maneuvering in Undaunted: Battle of Britain: If you attack your opponent from the rear, you gain a significant bonus to the attack – something that should be exploited at all costs!
Third, in Undaunted: Battle of Britain we've moved away from the idea of scouting. In the other games in the series, when a scout moves to a new terrain tile, you place a scout token on the board and gain a Fog of War card, which represents the strain on command and control within the unit as the scout expands the area covered by your unit. That concept doesn't really apply in aerial combat.
Instead, we've introduced the idea of maintaining communications between aircraft. Each set of two fighters in the game are organized as a section. Those two fighters have a Section Comms card, which operates similarly to a Squad Leader card from Undaunted: Normandy and Stalingrad. You can use the Section Comms card to support the two fighters in the section (by adding new cards from those fighters, allowing them to take extra actions, etc). However, if you use the Section Comms card and the fighters are more than two spaces apart, you have to add a Discord card to your deck. Discord cards work just like Fog of War – that is, they are essentially a dead card in your deck. In this way, the game allows you to take important support actions with the Section Comms card if you want, but if the two fighters in a section are operating independently, you have to pay the price for the lack of cohesion.
In the end, playing Undaunted: Battle of Britain works similarly to other Undaunted titles, but it feels very different.
Development
Trevor and I completed our work on Undaunted: Battle of Britain at the end of August 2021, putting us well ahead of Osprey's request to have the complete game design to them by March 2022. Trevor and I met with Osprey in early September to walk them through the design, to provide an overview of the scenarios and all the critical gameplay elements we added, things that were different from the core Undaunted system, etc. (As an aside, during that same meeting, we brainstormed future titles in the Undaunted series — but that's secret for now!)
At that point, we turned the design over to Filip and Anthony at Osprey. They put the game through its paces through the end of 2021 and beginning of 2022. Occasionally they would reach out about specific design intent, strategies, and clarifying questions for various scenarios, but other than minor tweaking, from a gameplay perspective nothing significantly changed between the design Trevor and I delivered and the final game. However, as always, the game benefited immensely from Osprey's amazing attention to detail when it comes to delivering an amazing, top quality final product.
Art
Undaunted: Battle of Britain is gorgeously illustrated by the amazing Roland MacDonald. I say this for each Undaunted game in the series, but I really do believe that Undaunted: Battle of Britain is the most beautiful game in the series. It would have been very easy to lose the personal touch that the previous Undaunted titles have had in the shift to an aerial combat game, but the decision to keep the cards focused on the crew, and Roland's gorgeous art, really helped keep the game feel personal.
Here's a comparison of what we used for our playtesting and Roland's final work:
Release
When Undaunted: Battle of Britain is released on June 13, 2023 — with a pre-release taking place at UK Games Expo on June 2-4 — it will mark the end of an over two-year process to make the game a reality. From the very first email where Trevor and I pitched the idea of "something totally crazy" to the published version of the game that includes Roland's evocative art, the creative process for Undaunted: Battle of Britain has been fresh and exciting for all of us. I think I can safely speak for Trevor, Roland, Filip, Anthony, and everyone at Osprey when I say that we truly hope that folks enjoy playing Undaunted: Battle of Britain as much as we enjoyed making it.
David Thompson
BoardGameGeek News
To submit news, a designer diary, outrageous rumors, or other material, contact us at news@boardgamegeek.com.
Archive for David Thompson
1
Comment
Today 7:00 am
- [+] Dice rolls
-
David ThompsonUnited States
Centerville
Ohio -
Undaunted: Stalingrad is a deep and expansive standalone game that moves the Undaunted series in a whole new direction — an immersive campaign system that plays out like a legacy game but can be replayed for very different experiences.
In Undaunted: Stalingrad, you lead a German or Soviet platoon and battle over a war-torn city in one of the most consequential battles in history. During the course of the campaign, your soldiers can be awarded for their acts of valor or they can die fighting valiantly, the city around you changes based on your actions, and your victories and defeats shape the scenarios to come.
At the beginning of Undaunted: Stalingrad, your platoon consists of a platoon sergeant, squad leaders, scouts, riflemen, and machine gunners. Over the course of the campaign, you will be able to add many new troops to your platoon, and you will be able to outfit your soldiers with new weapons and equipment — and your infantry won't be alone. To win in the streets of Stalingrad, you will need all the support you can muster from tanks and more. As you command your troops in skirmishes, they have the opportunity to be rewarded for their feats of bravery, with promotions bringing new roles and responsibilities as well as outfitting them with new weapons and equipment. But even though the Battle of Stalingrad offers your soldiers a chance to demonstrate their courage, it is extremely dangerous and many of the troops that you begin the campaign with will not live to see the fate of the city.
Your actions and those of your opponent will reshape the city of Stalingrad as you make your way through the campaign. Buildings will be reduced to rubble by the destructive might of the German and Soviet air forces and artillery fire. You will have to use the environment to your advantage to be successful in your battles, hiding in the rubble left behind by a destroyed apartment building, navigating secret tunnels, and forcing your opponent's tanks into your ambushes.
During the course of the campaign, you will play through up to fifteen branching scenarios, with each path driven by your successes and failures. With over 35 different scenarios in the game, every campaign experience will be different than the one before. Each player in Undaunted: Stalingrad has their own mission briefings, providing players with a story tailored to their perspective of the battle. The game includes over 150 evocative mission briefings for each side written by acclaimed author Robbie MacNiven, providing players with a story tailored to their perspective of the battle that will help immerse them in the campaign's story. And of course the game's rich narrative will be illustrated by Roland MacDonald, with over three hundred unique pieces of art.
This is the story of how Undaunted: Stalingrad came to be...
Origin
The origin for Undaunted: Stalingrad can be traced all the way back to February 2018, a year-and-a-half before Undaunted: Normandy (the first game in the Undaunted series) was released. At the time, Trevor Benjamin (my designer partner for the Undaunted series) and I had completed the design for Undaunted: Normandy and were just getting started with Undaunted: North Africa.
Publisher Osprey Games believed that Undaunted would be well received and wanted us to think about what the next game in the series could be about. In an email exchange I had with Trevor, this is what he said:Quote:Thematically, the game could follow the members of a single Soviet platoon, moving throughout the city. Mechanically, we could add...a sort of persistent state / pseudo-legacy thing. (The player)...saves their deck across games. Maybe?So even in the earliest discussions about what Stalingrad might be, we envisioned legacy or campaign style mechanisms.
Throughout the rest of 2018 and into 2019, Trevor and I were focused on Undaunted: Normandy and Undaunted: North Africa, but in March 2019 as part of an email proposal to Osprey for our idea on Stalingrad, I said:Quote:Trevor and I have discussed what Undaunted 3 might look like. We both really like the idea of Undaunted: Eastern Front or Undaunted: Stalingrad. It would introduce the Soviets, and concentrate on urban and close quarters combat. It would also introduce more vehicles, etc.The game was officially greenlit by Osprey in August 2019 (at the same time Undaunted: Normandy was releasing) when Filip Hartelius and Anthony Howgego — the lead developers at Osprey — commissioned the game. Their direction was that Undaunted: Stalingrad should be a "destructive legacy" game, along the lines of Risk Legacy or Pandemic Legacy.
Discussion with Osprey
A few months later in October 2019, Filip, Anthony, Trevor, and I met in Essen, Germany during SPIEL to discuss ideas for Stalingrad. Below is a list of initial ideas we discussed for the game. For those familiar with the Undaunted series, it's worth noting that at the time of this meeting, Undaunted: Normandy had only been released for a few months, the design for North Africa was being finalized, and design work for Reinforcements was still underway.Quote:Essen 2019 discussion: What should an Undaunted legacy game have?While some of these initial concepts didn't exactly make it into the final game, it provided us with a starting point.
Same core gameplay as other Undaunted titles
Unlock new capabilities
Soldiers get better (upgrades)
Perma-death
Perma-board state changes
Normandy (rather than North Africa) scale
Can't change combat rolls (needs to be the same basic dice rolling system)
Can't change deck-building (though we discussed that same scenarios could use constructed decks)
Core concept is supply manipulation over time
Secret objectives
Secret supply
Obfuscate end of campaign scoringSpoiler (click to reveal)Sappers
Artillery
Bombers
Flamethrowers
Timeline:
UKGE 2020: initial design concept complete
March/April 2021: design work complete
Design
Between our meeting with Osprey in October 2019 and early 2020, Trevor and I were focused on completing the design work for Undaunted: Reinforcements. It was in April 2020 when we had our first substantive design discussion for Stalingrad, which revolved around the composition of the German and Soviet units, where they would be similar and where they would be different. We knew from player feedback for Undaunted: Normandy that asymmetry was an important — perhaps the most important — element of the game. The two sides needed to feel unique. And in addition to the general differences between the two sides, we also needed to develop a system of upgrades.
Here are the initial notes Trevor and I made regarding soldier overviews:Quote:• Soldier cards are double-sided. The front shows the soldier as a "recruit" — basic abilities and stats — and the reverse shows them as a "veteran" — extra abilities, improved stats, etc. The extra abilities vary both across units (Scouts have different options than Rifleman) and within units (one Rifleman within Squad A may have a sub-machine gun, while the other gets anti-tank gun).With the exception of flipping cards for upgrades (which would have required sleeves), most of this initial sketch of an idea lived through to the final version of Stalingrad.
• Between scenarios, you get to "promote" some of the soldiers in your deck, flipping them from their recruit to their veteran side.
• This will likely be done at a fixed rate (e.g., three cards per player per scenario), but it could be tweaked based on what happened in the scenario (e.g. hidden objectives, who won, etc.).
• For now at least, we think this is done randomly from the cards in your deck when the game ends (i.e., those which have taken part in this fight) (cf. Casualties, which is also random)
• Command cards are double-sided and can be flipped, too, but this only happens through scenario/narrative.
By July 2020, Trevor and I were well underway with conceptualizing the "injury" system (which would later turn into Reserve soldiers), upgrades, scenario designs, etc. Here is a screenshot of our notes and responsibilities document from 28 July 2020:
By August 2020, we had worked through the first few scenarios and drafted an initial ruleset. While none of the rules changes in Stalingrad are drastic, we did take the opportunity to make what we felt were improvements to the core Undaunted system.
We changed the way units spawned. Instead of requiring extra tokens on the board during set-up to designate spawn locations, we simplified things by ruling that units spawned at Riflemen locations, which also had the added benefit of adding some interesting in-game tactical choices. In addition, we added a new end condition for routed Riflemen. This meant that we could remove the "Beyond All Hope" rule in the game, which was undoubtedly the most confusing and least satisfying rule in Undaunted: Normandy and Undaunted: North Africa.
We also had a good sense of how the overarching campaign would work. It would be set around 9 January Square in the southern part of Stalingrad, an area that was relatively cut off from the rest of the battle. That made for a perfect location to set a prolonged conflict between the two sides. Because the tiles in Undaunted: Stalingrad map to actual locations (rather than the modular nature of the tiles in Normandy and North Africa), we were able to use a full-sized map of the tiles for our testing. This screen capture from July 2020 shows the earliest version of the campaign board. At the time we were using cards from Undaunted: Normandy to proxy the units.
Between August and December 2020, Trevor and I focused all of our attention on Undaunted: Stalingrad. Usually we juggle multiple projects — other collaborations we're working on, and projects with other designers — but during this time, almost all of our design time was spent on Stalingrad. We met at least three times a week, usually for three or four hours per session. And between these design sessions we each had our own responsibilities: Trevor focusing on the rules and unit upgrades, and me focusing on the scenario designs and overall campaign structure.
In the early stages, we had multiple, sometimes competing, design goals: creating and testing new scenarios, creating and testing new units (with upgrades), settling on which new units we'd need to add to the campaign (and when they would be added), determining what impact each scenario would have on the overall campaign, etc. By September we had locked down the core rules changes, but were still working through exactly how injuries would work. This is something that was challenging for us. The injuries (which would later become the Reserve unit replacements) needed to simultaneously feel impactful, while also not feeling "un-fun". In the end, we're happy where we landed, but it was one of the most difficult parts of the design experience for us.
By December we were closing in on completing the design work for the game. We had settled on all the rules, finalized which units would be in the game, settled on a system for Reserve and Upgraded units, designed the system for damaging structures, etc. It was also at this point that we had completed the structure for the overarching campaign. In the end we had to create over 35 different scenarios to support all the different permutations for the campaign, and there were many, many different endings, depending on the result of each scenario.
Here is a visual of the scenario pathing across the entirety of the campaign:
In January 2021, Trevor and I met with Osprey to brief them on our progress. We were close to completing the initial design work and ready to turn everything over to Osprey for playtesting and the beginning of development.
Development and Playtesting
Within the next few months, development was well underway at Osprey, with Anthony and Filip putting the game through its paces. At the same time, Osprey was running a large organized playtest effort. We needed lots of information from the testers: were there degenerate strategies we hadn't foreseen during the design phase, what was the overall response to the persistent effects, etc.
By mid-2021, the playtest was largely complete, and Trevor and I were meeting frequently with Anthony and Filip to make minor adjustments to units, scenario design, and the way specific actions worked.
I can't stress enough how critical this period of playtesting and development was for the game. It's what really gave it that deep look, ensuring that we — as a complete team — did everything possible to make sure the gameplay was the best it could possibly be.
The Change from Legacy to Resettable Campaign
From the very beginning of discussions about Undaunted: Stalingrad, Trevor and I were in lock-step with Osprey (that is, Filip and Anthony) about everything except one VERY important issue: the topic of destructive legacy versus a campaign system. Trevor and I preferred a campaign system, while Osprey was in favor of a destructive legacy game.
As early as May 2020, even before Trevor and I had completed the initial draft of the rules, we had developed a proposal for a resettable campaign system and sent it to Filip and Anthony for review. Trevor wrote:Quote:A core (if not the core) change is that effects can persist throughout the campaign. If soldiers are killed, they are permanently removed from your supply. If soldiers are promoted/upgraded, they permanently gain new abilities. If a building is destroyed, it permanently drops in defense value and blocks vehicle movement. That sort of thing.Filip and Anthony pushed back against this proposal, feeling that destructive legacy was the right way to go for a variety of reasons. So that's the way Trevor and I moved forward. And ultimately I feel the design was much better for it. Trevor and I designed the game to be a destructive legacy game, which meant that we could really lean heavily into a high-stakes affair.
In Essen we discussed using custom stickers and/or pens to handle this persistence. So Stalingrad would be a proper one-shot Legacy game. We wonder, though, if this is necessary. We've come up with a model which, we believe, allows us to maintain the persistence but avoid the permanence, making the game perfectly re-playable. See attached. We feel this is a much more attractive proposition for players. They can have their cake and eat it too — or rather, eat it again and again!
In the end, it was not until after Trevor and I had delivered the design for Undaunted: Stalingrad that the decision was made to transition from destructive legacy to a resettable campaign. There were two major reasons that Osprey made the decision to make this change. First, the game would have actually cost more to produce as a destructive legacy product rather than a resettable game. We couldn't ask players to pay more for a destructive game than a resettable game. Second, playtesters strongly preferred a replayable game. This was especially important for Undaunted, in which you often want to experience playing on both sides of an asymmetric scenario.
Filip was the strongest proponent for the destructive legacy approach. This is what he had to say about making the transition to a resettable campaign:Quote:I argued the most vehemently for legacy, and I think it was largely based on making sure that everything felt weighty and full of consequence. We really wanted losing soldiers to have an emotional dimension.In the end, this transition from destructive legacy to a resettable campaign after the design was complete was a huge benefit to the overall design, in my opinion. It meant that Trevor and I were designing the game with these high-stakes scenarios, crafting a complex web of scenario progression through the campaign — and then at the end, we were able to take that design approach and turn it into a game that could be played again and again, with very, very different outcomes.
However, the reasons we changed were (a) enough people, including playtesters, were asking for a replayable option, and we came up with the option of swapping out tiles and cards, and that was literally cheaper to produce than legacy, also (b) the richest legacy aspects of Stalingrad aren't the big, dramatic changes of, say, Pandemic Legacy, where there's one big rule change or dramatic betrayal, but lots of small, incremental changes. Stickering a card is fun — stickering half a deck is a chore; ripping up a card is dramatic — ripping up tens of cards feels wasteful.An example of the evolution of one tile: a fully intact building, damaged, and destroyedAn example of an upgraded soldier (my favorite in the game, as an aside!)An example of a Reserve soldier
The Setting
Undaunted: Stalingrad is set in what was known as the northern portion of the city center of Stalingrad. This section of the battle of Stalingrad, centered around 9 January Square, was relatively cut off from the larger portion of the battle, which was situated farther to the north. The action in the game starts in late September 1942, just after the Germans had captured much of the area around 9 January Square. The game represents the actions of platoon-sized units (bolstered by supporting elements) over the course of two months (culminating around the time of Operation Uranus, when the Soviets launched a major encirclement of the German forces around Stalingrad). This location and time period is the perfect setting for Undaunted: Stalingrad as it represents a relatively isolated portion of the battle where the two forces fought for months over just a small neighborhood-sized area of the city.
I had researched this same area of Stalingrad for a different game I designed (Pavlov's House), so I was intimately familiar with the activity in the area during this time. I also just so happened to have quite a few books to draw on for additional research.
Art
A discussion of the art for Undaunted: Stalingrad should really come from Roland MacDonald, the artist of the Undaunted series, but I'm happy to discuss it briefly from my perspective. First off, much of Undaunted's success is owed to Roland, who developed a fantastic look for the series that somehow manages to appeal to a broad audience, while also evoking the game's war theme. (Earlier in 2022, he did a fantastic interview with Neil Bunker of Diagonal Move discussing his artistic process.)
Trevor and I provided an overview of the battlefield area where Undaunted: Stalingrad takes place to Roland, who transformed our poor quality concept into the beautiful tiles in the final version of the game.
Here's a comparison of what we gave to Roland, and the final version of a similar area:
When Trevor and I were designing the game, we used placeholder cards from Undaunted: Normandy for the first couple of sessions, but then used artless cards generated using a script that drew from a spreadsheet for the vast majority of the design work.
When it was time for Roland to start working on the cards, we didn't provide detailed art descriptions for the units. We just provided a very brief concept and Roland drew from his experience with prior Undaunted titles and his own historic research to develop the art.
Here's a comparison of what Trevor and I used while designing the game, a row of text for the card (to include what Roland used as the basis for the art) and final card from Roland. In this case, we're communicating that this is a rifleman from squad A that has been promoted to a higher rank and "inspires" other soldiers from his squad.
And here's a look at the various versions of the Soviet riflemen from Squad A:
Story
For the first time for an Undaunted title, Osprey hired an acclaimed author, Robbie MacNiven, to provide a narrative for the game. Rather than just provide a quick background passage for each scenario, as had been done in prior titles, Undaunted: Stalingrad follows the action with a narrative tailored for each side in the battle, focusing the story on the commanders: the platoon sergeants and squad leaders. Over the course of the campaign, successes and failures are reflected in the narrative, and the personalities of the leaders for each side will emerge.
The decision to include the evocative story is one of the many reasons that I love collaborating with Osprey. They chose to go the extra step in hiring an acclaimed author to breathe life into the game that – when combined with Roland's art – really helps set the game over others in the genre, in my opinion. Here's a sampling of the German scenario book.A peek inside the Soviet campaign book
Release
When Undaunted: Stalingrad is released on 24 November 2022 in the UK and elsewhere outside the U.S. (and in December 2022 in the U.S.), it will mark the end of an almost five-year process to make the game a reality. From the very first email where Trevor and I discussed the idea of persistence to the published version of the game that combines Robbie's rich narratives and Roland's evocative art, the creative process for Undaunted: Stalingrad has been the most engrossing and rewarding game design experience for me. I think I can safely speak for Trevor, Anthony, Filip, Roland, Robbie, Filip, Anthony, and everyone else at Osprey when I say that we truly hope that folks enjoy playing Undaunted: Stalingrad as much as we enjoyed making it.
David Thompson
Tue Nov 22, 2022 7:00 am
- [+] Dice rolls
Designer Diary: Resist! or Bringing the Story of the Spanish Maquis to the Boardgame World
16
Sep
2022
-
David ThompsonUnited States
Centerville
Ohio -
"How many lands have my feet trod and my eyes seen! What terrible scenes of desolation of death I witnessed in those years of continual war. Adverse circumstances had made us, anti-militarists, the most battle hardened soldiers of the Allied armies."
—Murillo de la Cruz
In mid-2020, Gonzalo Maldonado from Salt & Pepper Games reached out and asked whether I would be interested in collaborating. Historically, Salt & Pepper has licensed games for Spanish-language editions, but they wanted to start publishing their own designs. In addition to being a publisher, Gonzalo is a reviewer, and over the years he had reviewed many of my games. We shared a love for historical games, so he wanted to see whether I would be interested in designing something for his company.
The offer was flattering, and I was very much interested in working with Gonzalo and Salt & Pepper Games, but at the time I was swamped with deadlines. I let Gonzalo know that I was absolutely interested in collaborating, but that it would be a while before I was able to get started.
We stayed in touch and occasionally brainstormed possible ideas. Then in May 2021, Gonzalo reached out to me again and presented the idea of including Albert Monteys. Albert is a famous illustrator who has been nominated for the Eisner and won quite a few other awards. The timing of Gonzalo's email was perfect. I was just finishing some work on a design with one of my design partners (Roger Tankersley), and I was on a brief hiatus on a couple of projects with my other design partner (Trevor Benjamin).
I thought about Gonzalo's proposal and brainstormed a couple ideas. I was inspired especially by Albert's work on the Slaughterhouse-Five graphic novel adaptation, and I also wanted the game to honor Spanish military history. I settled on a couple possible themes: La Nueve, and the Spanish Maquis. La Nueve was the nickname given to the 9th Company of the Régiment de marche du Tchad, part of the French 2nd Armored Division (also known as Division Leclerc). La Nueve fought during the liberation of French North Africa, and later participated in the liberation of France. The Spanish Maquis were guerillas exiled to France after the Spanish Civil War. They fought alongside the French Maquis during the Second World War, but they are better known for their continued fight against Francoist Spain until the early 1960s.
The Designers
I prefer to design with a partner, so I reached out to both Trevor and Roger and asked whether either would be interested in collaborating on the project. I presented the thematic concepts and also sketched out an extremely rough idea for possible mechanisms in the game. This is how I proposed that the game might work:Quote:The player takes the role of a "commander" and has a deck of maybe 20 or so cards representing their fighters. At the beginning of the game, the player shuffles their entire deck together. There is also an opposition deck of cards. The goal is to remove the entire opposition deck from the game. On a player's turn, they draw X cards from their deck (probably four or five) and X cards from the opposition deck. The goal is to remove the drawn opposition cards. Each opposition card has a defense value (and some sort of attack or special action).To my surprise and excitement, both Trevor and Roger replied that they were interested in working on the design. We almost immediately settled on the topic of the Spanish Maquis. Although I had assumed a Spanish Maquis game would focus on the group's exploits during the Second World War, Roger rightly pushed us towards focusing on the post-WW2 counter-Franco time period. That time period is what the group is better known for, and it provided for a more wide-ranging and interesting thematic backdrop.
Each of the player's cards has up to three elements:
• Attack value
• Special action
• Special action that requires the card to be removed from the game
I envision there being a few (maybe four or five?) "levels" to the game, which consist of thematic concepts and escalating difficulty in the composition of the opponent deck. Theoretically the idea could be that players play through a chronological campaign of these handful of scenarios.
We each began to take on roles in the design. In general, I proposed most of the gameplay elements, Roger led the thematic integration, and Trevor concentrated on development and refinement.
Initial Refinement
One of the earliest and most impactful thematic elements Roger introduced was the way in which we represented the Maquis fighters. My original concept was that each fighter would have two special actions: one weak and one strong. When fighters used their weak action, they would be discarded and could be used again. If they were used for their stronger action, they were removed from the game. This mechanism was inspired by card-driven games (CDGs) as well as deck-destruction games, such as Martin Wallace's Lincoln. Roger proposed that the weak action represented the Maquis operating covertly, or "hidden", while the stronger action represented the Maquis "revealing" themself and operating overtly against the Francoist forces. It was a great thematic framework that we would use to craft all of the Maquis fighters. This is how Roger initially described it:Quote:So I think this could maybe fit what you've laid out as well. Each maquis card has a "minimal risk" plain-clothes action that is less powerful, and a "high risk" militarized action that is powerful.The next major shift in the design was the way in which the enemy worked. It was the least refined concept I had in my initial gameplay pitch. Trevor proposed an alternative that improved the theming, provided more interesting decisions for the player, and improved the overall game structure. Rather than a single enemy deck, there would be a set of "location" cards (which would later become missions) and an enemy deck. Enemies would be distributed among the locations, and the player would have a choice of which location to attack. Here's how Trevor described it:Quote:Instead of a single, amorphous deck for the enemies, what about this: In addition to the enemy deck, each game has a prescribed set of "location" cards that are laid out on the table. These would minimally have a "defender" value, though they could also have special abilities / conditions. During set-up, you distribute the enemy cards face down to the locations, according to this defender value (so three cards if the value is 3, etc.) On the player's turn, they draw their hand and then choose which location to attack.This was an instrumental change to the game. It allowed for interesting decisions by the player, the integration of special effects for the locations, and greater variety across plays. It was the last major tweak to the core gameplay concept before the three of us really got to work on the game design. The next step was to create the initial set of Maquis fighters, enemies, and missions.
The History
As I mentioned earlier, Roger led the research and thematic integration for the game. During his research, he identified three general timeframes that encapsulated the Maquis' battle against Francoist Spain: The Re-invasion of Spain (1944), Splintering of the Maquis (1945-1948), and Hunting the Maquis (1949-1952). This is how he described those periods:
1944: Re-invasion of Spain by Spanish Maquisards in France. Franco had fortified the Pyrenees with 4,500 fortifications in anticipation of armed resistance both from former foes (the Spaniards who had fled to France) and other Allied powers when Germany fell. There was direct, large-scale conflict between returning maquisards and Franco forces.
1945-1948: Splintering of Maquis. By 1947 hopes of large area control were gone. Franco forces easily repelled the re-invasion of Spain. Remaining Maquis took to the mountains and entered a phase of industrial sabotage, assassinations, and bank robberies. Lots of small scale conflicts, many bands of maquis operating in the mountains.
1949-1952: Hunting the Maquis. Franco responded by training and fielding an incredibly capable force of counter-guerillas, dressed and operating like the guerillas and sowing terror on their home ground. These counter-gangs even attacked local populace in the guise of maquisards to discredit them. Franco forces were hunting down and scattering remnants, with many maquisards trying to flee back to France. Lots of missions to try to rescue their fellow maquis, get needed supplies, rob banks to give money to guerilla families, and continue to harass and disrupt the military, communications, smuggling weapons, etc.
These three time periods formed the thematic background for the three mission decks in the game. We also drew from these concepts to identify the types of enemies in the game.
From Design to Development
Next, we refined how the Maquis were handled. Originally, I had envisioned a single Maquis deck of about twenty cards. You'd start with the entire deck in each play, and your choice to play cards for their weak or strong actions would drive the composition of the deck. In order to increase variety and replayability across games, we shifted to a model in which you'd have access to only half of the Maquis in each game, and early playtests drove us to reduce the number of Maquis in play from twenty to twelve.
Now we had the framework of the game that very much reflected the final design. The next order of business was development. We focused on balancing the Maquis, missions, and enemies; developing consistent terminology across the game; refining the gameplay structure; and better integrating the theme.
Throughout mid-2021, Trevor, Roger, and I worked through this process of refinement. There were a couple critical decisions we made during this period, perhaps the most important of which was "How does the player win?"
In the early versions of the game, we used a win condition similar to what is in the base game now, that is, the player is trying to achieve different victory level thresholds as determined by victory points. However, we also started designing alternate win conditions as scenarios. For these, winning was binary: You either won or lost — but players had special, specific goals rather than simply trying to achieve more and more victory points.
We enjoyed both models, and the system supported both. It was at this time, with the core gameplay refined and us at the point of making subjective decisions, that we launched our playtest.
Organized Playtesting
In September 2021, we launched a massive organized playtest. I reached out to three communities: The 1 Player Guild on BoardGameGeek, specific groups on Facebook (the Solo Board Gamers and Solitaire Wargamers groups), and Twitter. The response was overwhelmingly positive. In the end, we limited the number of testers to 75, with about one-third of the testers coming from each community.
We were confident going into the external playtest that the core game design for Resist! was strong, but what we really needed was extensive data collection so that we could gauge overall balance and difficulty for the game. We needed to test a number of variables (individual mission strength, Maquis, etc), but primarily we were concerned with these questions:
• What was the level of difficulty for the core game when using a random set-up of Maquis?
• What was the level of difficulty for the core game when when you drafted Maquis?
• What was the level of difficulty for each of the eleven scenarios when using a random set-up of Maquis?
• What was the level of difficulty for each of the eleven scenarios when you drafted Maquis?
While there were some subjective and open-ended questions we also asked, it was objective data collection that we needed in order to properly answer the four questions above. Fortunately, because of the size of the playtest pool and the amazing responsiveness of our testers, we were able to collect hundreds of individual game results. That allowed us to make data-driven decisions about balance tweaks across the core game and the scenarios.
Of course, our amazing playtesters helped us in many other ways. Throughout this process Trevor primarily led the effort to refine all of our rules text, especially to ensure consistency, based on tester feedback. To say the responses were critical to the development of the game would be a massive understatement.
The organized playtest ran for about two months. At that point we had collected enough data and feedback to lock down the design. During this same period we had already been meeting with the publisher (Salt & Pepper), artist (Albert Monteys), and graphic designers (Meeple Foundry). But now with the game design and development complete, we could transition into art and graphic design integration.
Art and Graphic Design
We met with Albert to discuss the artwork, and with Diana Toma and Samuel Zaragoza to discuss the graphic design as we were running the organized playtest. I already mentioned how enamored we all were with Albert's gorgeous art, but we were just as lucky to be working with Diana and Samuel.
To give you an idea of what the game components looked like in their prototype form, here's a sample Maquis card, followed by the final version:
And here's a comparison of a mission card:
And an enemy card comparison:
As you can see, somehow Albert, Diana, and Samuel were able to take our rough concepts and turn them into something truly magical. The art is evocative and beautiful, while the graphic design is a perfect blend of functional and elegant. I couldn't be happier with the final look of the game.
Resist! starting shipping to backers in August 2022, one month ahead of schedule, which is a minor miracle in the current state of production and shipping in the board game world. The game will be available to buy at SPIEL '22 in Essen, Germany in October.
David Thompson
Fri Sep 16, 2022 1:00 pm
- [+] Dice rolls
Designer Diary: Sniper Elite, or How to Turn a Stealth-Shooter Video Game into a Hidden-Movement Board Game
14
Jun
2022
-
David ThompsonUnited States
Centerville
Ohio -
In the wee hours of the morning of January 9, 2019, Duncan Molloy reached out to me on Twitter with a cryptic question, "Hey David...can you have a think about how you excitingly portray sniper characters in tabletop and come back to me?" It took only a few minutes for me to formulate a general response based on research I had done for other games. I didn't know the context of the question, though, so it was just a rough sketch based on the role of military snipers in general. Duncan and I traded a few messages, then he emailed me.
Duncan had recently moved from Osprey Games to Rebellion, where he was establishing a tabletop division. Rebellion is one of Europe's biggest multimedia studios, with comics, TV, film, and especially video games. It seemed a natural fit to expand Rebellion into the tabletop world, and Duncan was the perfect man for the job. A few years earlier he had launched Osprey's board game division. In fact, that's how I knew Duncan. As Osprey's lead for board games, he took my pitch for Undaunted: Normandy way back at SPIEL '14. During the development for Undaunted, Duncan and I got to know each other pretty well. Apparently he trusted me enough to see what I could do with a sniper game.
Duncan's email was enlightening. He wanted to explore the idea of a tabletop adaptation of one of Rebellion's biggest video game IPs: Sniper Elite. He invited me to conceptualize what an adaptation might look like and pitch it to him. In truth, I'm not a huge video gamer. I knew of Sniper Elite but hadn't played it — but it was a very interesting opportunity.
I spent the day pouring over Sniper Elite videos and strategy articles. The next morning I replied to Duncan's email and told him I was interested in the idea and that my first inclination was a "1 vs. many hidden movement game". Duncan invited me to explore any game concept as long as accessibility was a core tenet.
The next step for me was to identify a design partner. There were two major reasons I wanted a co-designer. First, designing with a partner helps hold me accountable and on schedule. Second, there was the practical issue of designing and testing a hidden movement game; that would be much easier with two designers! The first person I thought of was my friend, Roger Tankersley. Roger and I had worked together in the UK from 2014-2018. During that time, we were part of the same gaming group, and he had also playtested many of my designs. Most important, though, was that Roger is a HUGE fan of hidden movement games. Once I had settled on hidden movement as the key mechanism in the game, I knew he was the perfect person with whom to partner. It also helped that Roger was much more of a video gamer than me.
Fortunately, Roger agreed to collaborate with me on the design of what became Sniper Elite: The Board Game. Our first step was the research phase. When I'm designing a historical wargame, I usually spend six months to a year conducting research before building out the model of a game. Designing a tabletop adaptation of a video game required a similar depth of research, albeit in a much different way. Roger and I dove in head first to the video game. We needed to identify the core elements of the gameplay experience so that we could evoke those elements in the model we created for our design.
Tension, objectives, stealth, the shot, alerted defenders, panic: these were our core elements, what the tabletop game had to evoke. From our first conceptualization meeting, Roger and I knew that the sniper's movement and the defenders' positioning were going to be the key facets of the game. We discussed a variety of models, but our primary goal was to keep the board layout as organic as possible, while also leveraging it to facilitate elegant movement and sniper shots.
Very early in the design process Roger conceived a fantastic solution. Quoting from our design notes:Quote:In Sniper Elite, the game board represents an operation-size area where the map is broken into different size spaces, with more spaces in land use types that are harder to shoot through. The map will be designed to offer both long chains of spaces for snipers to take advantage of long shots across the map, and busy clusters of sectors where the hunters can feel relatively safe because of the difficulty of the shot. Control of the spaces is key to the hunters' victory as they limit where the sniper can operate.This approach to the board never changed over the course of the game design. We started our playtests by borrowing a map from one of the levels in Sniper Elite 4 (Mission 3: Regilino Viaduct). We modeled the board on Roger's idea of congested, dense areas resulting in smaller spaces, while open areas had much larger spaces.Early board design concept
In our earliest discussions, we had considered numbering every space on the board to allow for a huge variety in objective locations. We quickly moved away from that model due to our desire to maintain a consistently high-quality experience across plays. In order to ensure that, we streamlined the number of potential objective locations to key spaces on the board.
In addition, we broke the board down into sectors, with each sector assigned to a group of defenders. Each group of defenders would consist of a leader and their soldiers. This board mock-up shows the changes to both the numbered objective spaces and the identification of sectors:Early board design concept
The board configuration was successful. It generated organic chokepoints for the sniper, resulting in the need for stealth movement, while also giving the defenders interesting options for positioning.One of the final maps: the Heavy Water Facility from the Eagle's Nest expansion
The next major challenge was the resolution mechanism for the sniper's shots. We began with a custom dice concept. The sniper would begin the game with a set number of dice and could grow the number of dice in their pool with successful attacks. The sniper would declare the number of dice they wanted to use for an attack, roll them, and have to achieve a number of successes equal to the distance of the shot. There were elements of this initial system that we liked, but it largely felt uninspired. It was also missing the tension of executing a carefully timed, critical sniper shot in the game.
Our solution was shifting to a "shot resolution bag". Quoting from our design notes:Quote:To successfully make a shot, a sniper must draw a number of success tokens from the shot resolution bag greater than or equal to the number of spaces between the sniper and their target, including the space that the target is in, but not including the space that the sniper is in. The sniper may draw any number of tokens from the bag, but they must announce how many they are drawing and then must complete their draw even after gaining the needed number of successes.
In addition to success tokens, the bag also contains blanks, noise tokens, and noise suppression tokens. If a sniper draws two or more noise tokens, they must place a marker on the space the sniper occupied when they took the shot. Noise suppression tokens cancel noise tokens. A sniper begins the game with 5 success, 3 noise, and 2 miss tokens in the bag. After completing an objective, the sniper adds a noise token; after killing a soldier, they add a success token; after killing an officer, they add a noise-cancel token. The sniper can never have more than 10 success tokens in the bag.The final production version of the shot tokens
This "shot resolution bag" concept provided exactly the type of tension we wanted. The impact of the result — success, failure, and misses — kept all players engaged throughout the game. We also made sure to allow for ample opportunities in the game for both the sniper and defenders to affect the composition of tokens in the bag.
With the game board layout concept and shot resolution bag completed, it was time to turn our attention to the most significant challenge of the design: making sure that each board was fun, engaging, and balanced. For that, we turn to Roger's account on the design of our first board: the Launch Facility, which was first posted in the forums on the game's BGG entry.•••
When David and I started designing a hidden-movement board game based on Sniper Elite, we knew the board designs would make or break the game. We thought about hidden-movement games that used point-to-point movement to create clear routes between objectives. One of our favorites used a continuous grid system of same-size spaces, allowing more freedom of movement. How could we make Sniper Elite stand out among these classics?
Right away we wanted the board design to capture shot difficulty and movement speed in the shape and size of the spaces themselves. We wanted to avoid fiddly rules like "if moving through a building" or "if shooting around obstacles". Pretty quickly we landed on the idea of variable size spaces. Large, open areas with large spaces that let the sniper player take shots from across the map, or cover large distances in only a couple of moves. Small, claustrophobic areas like alleys and building interiors with smaller spaces that slowed movement and made shots more difficult. We built the game around this core design decision.
I like to start with theme and then layer on mechanisms, so like every kid playing with toy soldiers, I grabbed some crayons and a sheet of paper!
We wanted to evoke the Peenemünde Army Research center, where V2 rockets were developed and tested. For Sniper Elite, we used the research center to get an idea of the types of buildings and objectives we should include, then built a board tailored to hidden movement. We quickly iterated to a slightly different scale — the breakthrough came at a time when all I had was literally the back of an envelope! That general arrangement of buildings can still be seen in the final board design.
We tried adding spaces and objectives using a vector-based design program, but it was very difficult to quickly make changes in shape size and arrangement — look at those gaps! Look at all the diagonal corners! A friend of ours, who happens to be a data scientist, taught us to use a spreadsheet to create groups of cells that became our spaces. One huge advantage was the ease of identifying diagonals and changing spaces to remove them (although sharp-eyed readers will see some stray diagonals in this early version). We could also quickly account for the number of moves between objectives, areas with long lines of sight, and cluttered alleyways that slowed movement. We iterated many, many times using this system, making sure we got the board exactly right.
Art transforms board spaces into places. David and I delivered a near-final board design with descriptions of all the buildings and features, then the artists from the Sniper Elite video games brought it to life. We love all the small details in the missile assembly building, the cluttered interior of the warehouse, and the way that lighting around the buildings evokes the feeling of creeping through the shadows.
So how does this design affect gameplay? Playing as the sniper, you should quickly identify your first objective and decide on how to get there. You can move quickly through open lanes, alerting defenders but moving past them and darting into the shadows. Or you can move more slowly to avoid detection and surprise the defenders by accomplishing your first objective — and then you better run!
As the defenders, it's important to spread out and block the main lines of movement so that you will be alerted when the sniper runs by. At some point you will commit to an objective and collapse your defenders to pin the sniper in. Use the doorways and roadways to restrict movement, and force the sniper to make a mistake. Just be sure not to over-commit. It's a bad feeling to surround objective 4 only to have the sniper complete objective 5!
We are really happy with how the boards turned out and can't wait for players to get their hands on them. David and I think we struck a good balance for all playstyles — whether you want to run-and-gun, shooting all the defenders who get in your way; or creep along slowly in the shadows, increasing the tension as you near the time limit of your tenth move. One hallmark of a good hidden-movement game is the tension of both sides feeling "I can't possibly win this", and we think we've hit that mark with our board design!
Thanks for taking the time to read this design diary and check out our new game.
David and RogerFinal production copy of Sniper Elite
Tue Jun 14, 2022 1:00 pm
- [+] Dice rolls
-
David ThompsonUnited States
Centerville
Ohio -
By designers David Thompson and Trevor Benjamin
Greetings, all. November 2021 marks the release of Undaunted: Reinforcements, the third title in the Undaunted series. We thought it would be a good idea to post a design diary to share some background info, design decisions, art, and more.
At SPIEL '17, we met with the folks from Osprey Games to officially sign Undaunted: Normandy. At the same meeting, we were asked to start thinking about a sequel, Undaunted: North Africa. In fact, the design for North Africa needed to be completed before Normandy was released so that North Africa could be ready for mid-2020. With that in mind, when we transitioned from designing Normandy to North Africa, we didn't have the benefit of player feedback to see what the community wanted. We decided we would change the scale and symmetry in North Africa — and we're still very happy with those changes — but we didn't have detailed insight into player response for Normandy.
As the release of Normandy neared in mid-2019, the game started generating buzz and Osprey asked us to start thinking about a third game in the series. Over the first couple months of Normandy's release, we paid close attention to the community. Even though Normandy has an exceptional amount of asymmetry based on starting decks, cards available during a game, and scenario design, players still wanted unique capabilities for the Americans and Germans — something to make each side feel unique. Meanwhile, the solo community eagerly adopted the game. It won the "best multiplayer game played solitaire" award in Board Game Geek's 1 Player Guild in 2019, and fans began designing their own solitaire systems. Lastly, we're huge fans of team-based play, and we wanted to see whether we could add a four-player team based option to the game.
Increasing Asymmetry in Normandy
One of the first goals we had in Reinforcements was to add an extra bit of asymmetry to Normandy to answer the call of fans who wanted their forces to feel special. We identified the riflemen as an opportunity to add some distinction to the forces, and we settled on giving the Germans access to submachine guns and the Americans access to rifle-mounted grenade launchers. These changes reflected historical distinction in each side's actual platoon capabilities, and it allowed for interesting gameplay differences for the players. We took this tweak one step further by ensuring players could go back and replay all twelve of Normandy's scenarios with these modifications to the riflemen.
Tanks, Tanks, and More Tanks!
One of our favorite additions to North Africa was the addition of vehicles. Early on in the design process for Reinforcements, we decided we wanted to add tanks to Normandy — but because of the scale difference between the two games, tanks needed to work differently. Normandy's scale allowed us to elegantly integrate tanks into the core cardplay of the game without the special vehicle system used in North Africa. We felt this was a positive as it allowed us to keep Normandy just a bit more streamlined and less complex for players new to the series. However, we did make sure that the tanks we added to the game offered unique capabilities, continuing to answer players' calls for increased asymmetry.
What About North Africa?
One of the earliest decisions we made for Reinforcements is that it would be an expansion for both games. We didn't need to increase the asymmetry in North Africa as the forces were already very different, so instead we wanted to continue to build on the strengths of the game. North Africa stresses movement to a greater degree than Normandy, and we felt it might be interesting to give players more control over affecting each others' mobility. This led to the creation of mines. They don't block movement — but they absolutely give players a lot more to think about.
Another addition to North Africa was to give the Italians more of a "commando" feel, similar to what the allies (the Long Range Desert Group) have access to in the North Africa base game. Now the Italians also have access to special units, like an expert marksman. Plus we've given them yet another aircraft for even more death from above!
New Units Need New Scenarios
In addition to all the new units we've added to Normandy and North Africa, we've also added eight new scenarios, four for each game. These scenarios tie back into the campaigns for each game. In Normandy, we see infantry and tanks working together, battling over the area around Mortain, France, during one of Hitler's key counterattack attempts. In North Africa, the addition of mines, new Italian commando units, and the new Italian aircraft creates the opportunity for even more scenarios with a "special operations" feel.
Instead of Two Players, What About Two Teams?
As we mentioned earlier, we're both huge fans of team-based games, so when given the chance to add a team option to Undaunted, we jumped at the chance. Team-based play requires little modification to the core gameplay: Players simply alternate use of the Platoon Sergeant (or Lieutenant in the case of the Long Range Desert Group) during the course of the game. The player with the Platoon Sergeant bids for initiative. Otherwise, changes to the game are minimal. All eight of the new scenarios in Reinforcements are suitable for team play.
More Amazing Art
One thing that is a constant across the Undaunted series is the brilliant, evocative art from Roland MacDonald. Undaunted has been able to bridge the divide between wargamers and gamers from the broader hobby, and certainly a huge part of that has been Roland's inviting style, which somehow straddles a place in both worlds. With Reinforcements, Roland is at it again, but in our opinion this is his best work yet, with Reinforcements showcasing even richer depth and detail than Normandy and North Africa.
Saving the Best for Last?
Many fans of Undaunted would argue that the biggest addition Reinforcements brings is an official solo system for the game. When we discussed the idea of adding a solo system of the game with Osprey, we told them that we'd prefer not to design it ourselves. (Trevor hasn't had much experience in designing solitaire systems, and David prefers to design games to be solitaire from the beginning rather than adapting a solo system to a multiplayer game.)
So Osprey turned to one of the top designers in the solitaire boardgame world: Dávid Turczi. Dávid set about designing the core solitaire system, eventually settling on a card-based system that tailors the AI for each unit in every scenario. While this system does a fantastic job of simulating the experience of playing against another human player, it also meant that every single scenario needed to be deconstructed for the creation of the tailored AI. This Herculean task fell to David Digby, who set about implementing the specific AI routines.
Anthony Howgego and Filip Hartelius (Osprey's game development team) were responsible for transforming David Digby's design concepts into an elegant card system. The end result is the "Enemy Unknown" system of playing Undaunted solitaire, a system that when combined with Normandy and North Africa allows you to play either faction in 31 different scenarios for 62 total different solo play experiences!
Undaunted: Reinforcements really brings the design for Normandy and North Africa to conclusion. It allows us to give players what they've been asking for from the first days of Normandy's release. From the both of us, as well as Dávid Turczi, David Digby, and the entire Osprey team, we hope you all are as excited to play Reinforcements as we are!
—David & Trevor
Thu Dec 2, 2021 1:00 pm
- [+] Dice rolls
-
David ThompsonUnited States
Centerville
Ohio -
Greetings, all. July 2020 marks the release of Undaunted: North Africa, the second game in the Undaunted series. We thought it would be a good idea to post a design diary to share some background info, design decisions, art, and more.
The Initial Concept
Undaunted: North Africa's origin is directly tied to that of its predecessor. At SPIEL '17, Trevor and I met with the folks from Osprey Games to officially sign Undaunted: Normandy. During that same meeting, we were asked to start thinking about a sequel. In fact, the design for the sequel needed to be completed before Normandy was even released in order to have the sequel ready for mid-2020.
We tossed around a few ideas. We knew we wanted a different theater and preferably different nationalities. There were tons of great options, but ultimately we settled on North Africa. It seemed like an interesting topic with lots of room to explore new thematic elements and gameplay concepts.
But What Role Do the Players Take?
Once we had chosen the setting, we needed to decide what roles the players would take. In our earliest discussions, which dated to February 2018, I had proposed to Trevor that we use either the Special Air Service (SAS) or the Long Range Desert Group (LRDG). The SAS had the benefit of being better known, but the LRDG were interesting in that they were more closely linked to their vehicles, which we knew we wanted to be part of the game. The LRDG was also a more interesting Commonwealth melting pot, including Brits, Scots, Indians, Southern Rhodesians, and New Zealanders.
We also briefly considered basing the game almost entirely around tank-on-tank combat. That would have meant a rather significant change in scale, and it would have also meant shifting the focus from people to vehicles. More important, the wide open tank battles in the North African campaign weren't an especially good fit for the Undaunted system. In the end, we came back to the LRDG as our focus — but now we needed their adversary.
During the North Africa campaign, the LRDG encountered both the Italian and German armies, but most of their skirmishes were with the Italians and their Libyan allies. After researching all the main LRDG engagements, we settled on the Italians as our second faction in the game.Men of the LRDG
Vehicles!
From the beginning, we knew vehicles were going to play a critical role in the game. This is an excerpt of an early email discussion Trevor and I had about the vehicles. Here Trevor is laying out his vision for how vehicles should work:Quote:Here's the basic picture: There are no cards directly mapped to vehicles. Instead, vehicles are objects on the board which soldiers (Scouts, MGs, etc.) can use. Each vehicle has one or more positions: Driver, Gunner, Radio, etc. Soldiers spend an action to enter a vehicle, picking an unoccupied position in it. They can then spend a card to perform the action associated with that position — move, attack, etc. — or to leave the vehicle, or to switch positions. I have some more ideas around vehicle damage/repair, cover bonuses, and around position-based bonuses/restrictions (some soldiers could be better drivers than others), but that is the basic picture. It's super flexible, not too complex, and it allows us to maintain our thematic, narrative focus on the soldiers.What's remarkable about this is that it almost perfectly describes the way vehicles ended up being used in the final design. Typically Trevor and I work through countless iterations of ideas before finally settling on something we're both 100% happy with. In this rare exception, the initial conceptual sketch proved spot on.Early art by Roland MacDonald
An Issue of Scale
Unlike in Undaunted: Normandy, players do not have symmetric decks in Undaunted: North Africa — far from it. Both the LRDG and the Italians feature individuals, each with their own unique set of actions. In Normandy, tokens on the board represent small groups of men, with each man (generally speaking) tied back to a single card. In North Africa, each token on the board represents an individual soldier, and that soldier has four associated cards. The cards represent everything from the soldier's morale to their health.
We discussed this issue of scale for a long time during the design process. It was important because it tied back to our concept that each member of the LRDG was an individual with unique characteristics, but it meant that the two games would be a different scale and would not be compatible. In the end, we decided a better experience for North Africa was more important that trying to force compatibility across the two games.LRDG soldier art by Roland MacDonald
From Design to Development
The actual design process for Undaunted: North Africa moved fairly quickly due to the fact that it was based on an established core. For the second half of 2018, we researched LRDG and Italian army skirmishes and crafted scenarios that evoked those battles. We pushed the Undaunted system in new directions, incorporating new victory conditions (such as escaping from the board) and new ways to claim objective points (through demolitions). Of course, introducing tons of new asymmetry required even more testing, but it was worth it in the end.
We delivered the initial design to Osprey in early 2019, then we shifted to the development process. Filip Hartelius and Anthony Howgego — the lead developers at Osprey — began putting the game through its paces and making suggestions for gameplay improvements. During this time, we primarily focused on getting the balance right for vehicles and soldiers who had an anti-tank capability, as well as improving the synergy for the Italian's tank crew.
The Finishing Touches
Trevor and I delivered the final version of the design to Osprey in the middle of August 2019, right as Undaunted: Normandy was launching at Gen Con. It was awesome to see Normandy received so positively just as we were putting the final design touches on the second game in the series.
So that's the story of how Undaunted: North Africa came to be. It was a joy to see Roland MacDonald's gorgeous art throughout the design process, and it was great working with Filip and Anthony on the game. For more details, you can take a look at the rules in this video from Paul Grogan of Gaming Rules!
David Thompson
Wed Jul 29, 2020 1:00 pm
- [+] Dice rolls
-
David ThompsonUnited States
Centerville
Ohio -
Greetings all. At Gen Con 2019, Osprey Games will release Undaunted: Normandy. I thought it would be a good idea to post a design diary to show off some of the background info, design decisions, art, and more.
The Initial Concept
In 2014, I moved from the U.S. to the UK. Just before the move, I started brainstorming the idea of combining elements of deck-building card games with the spatial elements of a board game. I knew I wanted the game to be a skirmish-level game, with the cards tied directly to counters on the board, but I wasn't sure what the exact theme would be. While I was working through some of the initial mechanical concepts, I went on my first vacation after the move — a visit to Normandy. My first stop was Omaha Beach, where my grandfather landed on D-Day +4 with the 30th Infantry Division.
Instantly I had my theme. The game would focus on the exploits of individual rifle platoons within the 30th Infantry Division as they made their way through France.My son and me at Omaha BeachMy grandfather
As SPIEL 2014 neared, I shared some of the initial design concepts for Undaunted on BGG. A user there — Eddy Sterckx — noticed the game and suggested Osprey would be a good fit for the design. Eddy reached out to Duncan Molloy at Osprey and set up a virtual introduction. I met Duncan in Essen and pitched the game to him. At the time, Duncan was just getting things going with Osprey's fledging board game division. He liked the design, but it was a while before he had the bandwidth to take the game on. As a matter of fact, it wasn't until SPIEL 2017 that we made the formal agreement.
Regardless, when I headed home from SPIEL 2014, I had a good feeling about the design. I had already conceived the campaign arc for the game — the 30th ID's actions in France following D-Day — and I had also sketched out some ideas for the first few scenarios, but to properly develop the scenarios and ensure the game was solid, I needed two things: a dedicated blind playtest community, and someone to help me develop the scenarios.
Calling in Reinforcements
The blind playtest community emerged primarily from two places: BoardGameGeek and a dedicated playtest page that I created on my website. Blind playtest reports began pouring in. Although some contained feedback on the core of the game, most of the reports provided invaluable insight about the scenarios that were being developed.
At the same time, I reached out to Trevor Benjamin. He and I had collaborated on other projects and developed a great relationship. It also helped that we were both part of a game designer and playtest group in Cambridge. While I thought the majority of our effort would be solely dedicated to scenario development, Trevor brought with him a fresh perspective and fantastic ideas for improvements to the core of the game.Trevor and I playtest Undaunted: Normandy at UK Game Expo 2015
Gameplay vs. Simulation
One challenge we had throughout the design process was the balance we wanted to strike between gameplay elegance and simulationism. We knew we wanted the game to be quick playing, and we wanted to rely on the overall deck-building mechanism and the multi-use cards to drive the action, while representing concepts like command and control and fog of war.
We debated more than once whether there should be terrain effects to include impact on line of sight. Ultimately we decided that the drawbacks outweighed the benefits. For example, if we said that river tiles prevented or hindered movement, what about woods or hills? Depending on the river's depth or width, it could actually be easier to cross than a hill would be to climb. If we introduced line of sight, we'd have to determine how it was drawn, add edge cases, etc. It was a slippery slope, with every one of these elements taking us further from what we wanted: an elegant design that centered on players' control of their platoons through the management of their decks, abstracting their command and control over the platoon.The components for Undaunted: Normandy
From Design to Development
Trevor and I turned over the design to Osprey in 2017. At that point, Duncan Molloy and Filip Hartelius (who has served as the lead designer for the game) began putting the game through its paces. Although there were few changes to the core rules, Filip and Duncan pushed us to improve some elements and polish the edges.
More than anything, though, they challenged us on some of the scenarios. They wanted to make sure that each and every scenario was as good as it could possibly be. Ultimately we had to strip out a few of the weaker scenarios, we improved many that we had already designed, and we added a few new ones.
The Game Comes to Life
By early 2019, the design and development was complete. We began seeing Roland MacDonald's beautiful artwork, which really made the game come to life. When our preview copies arrived in June, we could hardly believe that the game had become a reality.
So that's the story of how Undaunted: Normandy came to be. You can take a look at the rules in this video from Watch it Played, and over the next couple of weeks we'll add more articles to the BGG game page about how we modeled the rifle platoon in the game and how we based the game's scenarios on real world battles.
David Thompson
Tue Jul 23, 2019 1:00 pm
- [+] Dice rolls
-
David ThompsonUnited States
Centerville
Ohio -
War Chest is a bag-building game with Euro, wargame, and abstract roots. At the start of the game, you raise your banner call, drafting several units into your army, which you then use to capture key points on the board. To succeed in War Chest, you must successfully manage not only your units on the battlefield, but those that are waiting to be deployed.
Each round, you draw three unit coins from your bag, then take turns using them to perform actions. Each coin shows a military unit on one side, and it can be used for one of several actions. The game ends when one player — or one team in the case of a four-player game — has placed all of their control markers. That player or team wins!A peak into the War Chest
This is a diary in three parts. The first is a peek into the design process by designers Trevor Benjamin and David Thompson. The second provides an overview of how the game went through development with AEG. The diary closes with a behind-the-scenes look into how Brigette Indelicato brought the game to life with her art.•••
Part 1: Design by Trevor Benjamin and David Thompson
We have been developing games together for a few years now, and this is what we've learned. We both love sleek, modern euro-inspired wargames (affectionately called "waros" or "weuros"). We both love deck-building games. And most importantly, we both love trying to mesh these two things together. War Chest is the successful output of this shared passion.
Having said that, let's get two things straight. War Chest is not really a wargame, and it's not really a deck-building game. Instead, War Chest is a lean, almost abstract, medieval battlefield game built around multi-use "coins" (beautiful, chunky poker chips in the final version) and a "bag management" system reminiscent of Orléans. Each coin in your bag shows a military unit on one side (an archer, a knight, etc.). You play these coins in order to command the depicted unit (to move, to attack, etc.) or to add new coins to your bag, but you also play these coins onto the board to become the units themselves. This core "play and command" mechanism has been with War Chest since its inception, but, as is often the case, it took quite a while to find the best way of showcasing this. This diary tracks some of the key stages in this design and development process.
How Do You Win?
Inspired by the theme and by other abstract-ish war games — Chess, we're looking at you! — the initial goal of War Chest was to capture your opponent's king. We quickly realized the game needed some focal points on the board, so we added strategic locations and a second alternative victory condition based on controlling them.
As it turned out, the kings caused all kinds of problems, so we dumped them, leaving the single, control-based victory condition. This worked much better but took us quite some time to get right. For ages, the goal was to control five of the eight strategic locations on the board. The problem was that it was too easy to get four, but nearly impossible to get five. We spent weeks, and countless clunky mechanisms, trying to hit this mythical sweet spot of four-and-a-half points. We added differential values to the control points, we added tracks to accumulate points over time, we (re-)introduced other ways of getting points, etc.
Luckily, we eventually stumbled on the most obvious solution. We increased the number of available control points from eight to ten and the victory target from five to six. It worked a treat! Lesson learned: Try twiddling existing knobs before creating new ones.A very early prototype with the initial board layout; you can see the old king pieces for each player
How Do You Play?
Given that War Chest is a bag-building (or better, bag-management) game, we needed an economic system. From the beginning, we knew that we wanted to keep the game as lean and elegant as possible, so we started with the constraint that all unit chips would cost the same.
We managed to keep this flat economy throughout the game's development, but again it took us time to settle on the final version. Remember the king? In the early days, each player started with three king chips in their bag. You could use these chips either to command your king on the board (move, attack, etc.) or to recruit another one of your units, adding its chip to your bag. This was actually a decent economic system, but we were forced to find an alternative when the king got axed for other reasons.
Our next solution was to replace the king chips with "coin" chips whose sole purpose was to recruit. (Think Copper cards in Dominion.) This wasn't great. Unlike the previous king chips, these coins had little value late game. And unlike Dominion's Copper, there was no way to remove them from your "pool".
The next (and final) solution came from fellow Cambridge-based designer Matthew Dunstan. Immediately after his first play of the game, he said, "Why not just let any chip be used to recruit?" Boom! That was it. Our old friend the multi-use "card" worked a treat, and we never looked back. (Okay, that's not strictly true. We did re-introduce a "coin" down the line, the "Royal Coin", in order to combat "small bagging", but that's another story...)Trevor (l) tests War Chest with Chris Marling, another Cambridge-based designer, in July 2016, not long after UKGE
Asymmetry
War Chest ships with sixteen unique units: three mounted units, two ranged units, two battlefield commanders, and a slew of others (mercenary, war priest, and so on). This diversity was not our original intent. Once again striving for elegance (and again drawing inspiration from classical games like Chess), we originally gave each player a symmetric set of units: a king (see above), an archer, a cavalry unit, and a pair of footmen. While this played perfectly well and certainly helped in establishing the core systems in the game, we soon realized that the game allowed for, and indeed greatly benefited from, asymmetrical armies drawn from a larger pool of units. The problem then was balance. We wanted the winner to be the player who played better, not the player who drafted (or was randomly dealt) the better army.Comparison of a prototype design and a final unit card design
Balance
Balancing units is never easy, but we certainly didn't help ourselves here. Our goal of keeping War Chest as clean and elegant as possible drove us to make core, basic actions in the game "base 1": all units cost one to recruit; they all move one space; they all attack with the "strength" of one, and so on.
Anything that breaks this rule of one, such as the light cavalry's ability to move two spaces, would be handled as an exceptional case via the unit's special powers/attributes. This meant we could (largely) keep numbers out of the game (yay!), but it also meant we had very little leverage when balancing units (boo!). Unlike most other combat games, we couldn't increase the cost of a unit or reduce its stats if it turned out to be too strong. All we could do was tweak the unit abilities themselves and add restrictions to more powerful ones (e.g., archers can't attack adjacent units). That being said, one advantage which we did allow ourselves was the number of coins a unit has available in the supply. Most have five, but a few of the stronger units have only four.
The Pitch
With the balance ironed out, we turned our attention to pitching the game to a publisher. SPIEL was approaching, and we studied the list of publishers with whom we wanted to meet. AEG was at the top of the list. We had worked with them in the past, and we knew they would be able to transform our game into an incredible product. We scheduled a meeting with AEG and met with Mark Wootton. The meeting went well, and Mark asked whether he could take one of our prototypes back with him to assess. He seemed to be keenly interested in the game, and we were hopeful AEG would decide to publish it.The final prototype
We were thrilled to receive the news that AEG wanted to move forward with publishing War Chest. Working with them on this project has been an incredible experience and one we would gladly repeat in the future!•••
Part 2: Development by Mark Wootton
War Chest is a game that immediately grabbed my attention when I first saw it presented by designers Trevor Benjamin and David Thompson at SPIEL in 2016. There is an often-used phrase of "simple to learn, tricky to master", and I immediately saw some of that magic after one playthrough.
After returning home with the prototype, I discovered that it had the capacity to also hold my attention as it constantly hit the table in my playtesting group. With each replay came a different combination of units and possible strategies.
I immediately set about seeing whether the rest of the Alderac Entertainment team felt the same way. My belief was that the game was incredibly approachable, even for people who were not hardcore gamers, but the challenge was how to show that to our hardened team of gamers at one of our company planning events. I did the only thing that you can do in such situations: I enlisted the help of our accountant, Taylor, who is probably the best definition of "extended gamer family" at our company – someone who is not an avid gamer herself, but who enjoys them enough to play something that is straightforward to learn.
Rolling out the game with her in front of the other staff was a great eye-opener. Having played one game, which I managed to teach and play in less than 45 minutes, she immediately asked to play again as she could see some new possibilities. After the third game (and double-checking with her that she wasn't just being nice to me), I was happy that my initial view was correct, and, importantly, the other team members were looking on with interest.
The team then played several games, both two-player and four-player, and the game was a success with the more seasoned gamers, too! From there development began.
It was during the development process that I came across this article: "Iconic Viking grave belonged to a female warrior." Although further reading ("New evidence of Viking warrior women might not be what it seems") brought up questions about some of the initial assumptions in that article, the initial announcement became a strong inspiration throughout the development process.
One of the things the original article cemented for me was the sense that this game could have been invented a thousand years ago. Yes, it pays close attention to modern game design concepts, and I am sure a thousand years ago cards might not have been part of the content, but it has that elegant simplicity underpinning the more modern designs, an elegance that gives it an almost classical feel.
When I discussed this with AEG CEO John Zinser, we developed the idea that the game would come in a box that looked like an actual chest, and John penned a brief story of how the game might have been born in medieval times. We wanted something that had a classical look to go with the feel of the game, and after enlisting the help of graphic designer Brigette Indelicato, we came up with a Celtic theme. The intricate patterns and rich imagery of the Celtic genre seemed to be a great fit, and the two kingdoms got the symbol of the wolf and the raven.
In later discussions with Todd and Mara, these became the clans Byrne and Faol, the former derived from Irish Gaelic meaning of "the family of Bran" (Bran being a raven) and the latter being the Scots Gaelic word for wolf.The backstory for War Chest
Production manager Dave Lepore worked tirelessly to ensure that the components lived up to our expectations of a beautiful product.
Continued playtests resulted in one or two small changes in the abilities of the different units until we were happy with the final balance, with Nicolas Bongiu and Erik Yaple and their teams testing the game and its rules.
We added a snake draft mechanism for experienced players so that they can make more strategic decisions at the start of the game. In fact, the real secret of the "tricky-to-master" element is changing your gameplay from more tactical to more strategic. Players can move on from simple choices of dealing with what appears in front of them on the board to a deeper understanding of the composition of units in their bag, the importance of stealing initiative, the timing of attacks, the ability to capture key locations, and the knowledge of when to withdraw to safer ground.
And all the time you can sense the possibility that a game just like this was once buried somewhere hundreds of years ago with a Viking berserker, a Gaelic warrior, or a French knight...
In the end, we feel we have captured the essence of a slightly abstract war game that can represent the broad sweep of early medieval, dark ages, or even ancient battles, a game that might have been presented to a king, queen, or high-ranking warrior as a lesson in managing a battlefield and understanding the deployment, strengths, and weaknesses of different troop types.•••
Part 3: Art Direction by Brigette Indelicato
I've been working as a graphic designer for the past eight years and on board game graphic design for the last three. Board and card games are some of my favorite graphic design projects as I enjoy the unique challenges and creative problem-solving involved with the process. (Being an avid tabletop gamer myself also adds to the appeal!) The graphic design for a game not only needs to be attractive visually and communicate information effectively, it also needs to be intuitive to interact with, function well in three dimensions, look unique yet appealing in a marketing sense, and enhance the general experience of playing the game.
Mark Wootton, the lead developer for War Chest, contacted me looking for a graphic designer to be part of the brainstorming and production of the final graphic design for the game components, including icons, game board, cards, box/packaging, and rulebook. The goal of the graphic look was to mirror the simple elegance of the game mechanisms and create a sophisticated and eye-catching end product.
I created a quick mock-up/inspiration board for a few of the theme ideas that had been discussed, including one for the Celtic approach:
After that was decided as our direction, I continued to amass visual research on Celtic symbols, patterns, design motifs, stone carvings, and wooden chests. I usually create a private Pinterest board for each of my design projects to keep all my inspiration and informational links in one place for easy referencing.
To bring in some of that thematic inspiration, I incorporated the "shield knot" into the game logo, box, and the back of the tokens. I also did some research about Celtic mythology to choose the raven and the wolf (animals associated with war deities) for the main symbols of the two opposing sides.
I created preliminary versions of the various game components, and through rounds of feedback from Mark and the AEG team, refined the designs until we had a polished end product. One of the main challenges was designing the fourteen unique unit icons; they needed to be simple and clean enough that they would work well on the unit token and as an icon on the cards. I also designed the colors and icons to be different enough to be easily distinguished from one another, while still feeling like a cohesive set. Another task was refining the wood and metal textures on the cards, board, and box to make the graphics visually interesting without being overly busy.
Here's an example of the design stages of one of the unit cards, from the early rough mock-up to final card design:
It was clear early on that the game box should be designed to look like a wooden chest, which informed the card and board design as well. The box of a game is especially important since it's the first aspect of the game a potential player interacts with and can set the tone and expectation for what's inside. I incorporated imagery from the unit tokens and the warring factions into the carvings to bring all the elements together. Even the box went through some iteration when AEG received feedback from partners and retailers that the box could be more colorful and easier to see on a store shelf:
War Chest was a fantastic project to work on with Mark and the AEG team, and an exciting opportunity to create graphics for an enjoyable and versatile game design. Every project is a learning experience of tackling new design challenges, and I look forward to taking the lessons I've learned from this to future projects!•••
A final message from the design and development team:
Thanks for taking the time to read about War Chest's story. We hope you enjoy the game!
Thu Jul 26, 2018 1:00 pm
- [+] Dice rolls