Wednesday, May 29, 2019 Episode 65 Welcome to The Board Game Workshop 2019 Design Contest https://theboardgameworkshop.com/design-contest-2019/ Join the Discord channel here https://discord.gg/TUE3Ggf Become a Contributor https://theboardgameworkshop.com/contributors/ Cory twitter.com/corymuddiman firstname.lastname@example.org Chris Anderson twitter.com/BlueCubeBGs www.BlueCubeBoardGames.com facebook.com/BlueCubeBoardGames/ Patreon Supporters Inventors Chris Turner Vegan Al Brad Bachelor Rosco Schock Vas Kottas Cory Muddiman Tinkerers Benjamin Begeal Grävling theTrueMikeBrown Jorge Zhang Rob Greanias Chris Backe Jeff Johnston The Board Game Workshop is the official podcast of The Indie Game Report https://www.theindiegamereport.com Music "Bit Shift" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Contact the Show email@example.com theboardgameworkshop.com https://discord.gg/TUE3Ggf google voice number 725-222-8249 https://twitter.com/TheBGWorkshop https://www.facebook.com/TheBoardGameWorkshop/ https://www.facebook.com/groups/674541729600828/ https://www.patreon.com/TheBoardGameWorkshop Transcript Music: 00:00 [Music]. Chris: 00:13 Welcome to the board game workshop. I'm your host, Chris Anderson and this contributor episode. Cory talks about how games evoke feelings and that's all we have for contributors. So I'm going to do an extended intro and talk about the show a little bit. Chris: 00:28 So the design contest is going well. We've got a month left of judging round one from today. Uh, just sent out a reminder email to the judges, so got a little bit more judging done today. Then the past couple weeks they had a very strong start but it's been tapering off is some judges finish up and schedules get busier we're almost to the number of feedback forms we had last year. So I think we will pass that and hopefully get at least 10 judges on each game. It'd be nice if we could hit 15 each, but we will see how much judging we get done in the next month. You know, the end of the school year. It can be very busy for some people's schedules, mine included. It's tough to find the free time to get to more judging. We are still accepting more judges. If you want to join in, there's still a month to go for around one, like I said, so plenty of time to get in a few feedback forms if you want and to also round two and then round three is local judging. So if you're in the southern New England area or further and feel like going on a trip to judge for a day, we'll be setting up some in person play tests for the finalists to actually play he games. And uh, do some extensive testing and feedback for around three. As you might notice from this episode only have one contributor. I am looking for more contributor segments, so if you would like to send in a segment, feel free to email me at firstname.lastname@example.org. Um, pretty much any segment that helps game creators in some way will be accepted and keep it family friendly. If you've listened to other contributor segments, you have a pretty good idea of the types of things people have done. But anything about your perspective on game design or advice conventions, advice on design, advice on publishing, stories of just going through the design process for your game. All sorts of stuff are welcome. Chris: 02:30 Lately I've been thinking about changing the format of the show. Scheduling the round table episodes can get very difficult matching up four people's schedules usually in multiple time zones. I really enjoy them when we can finally get them together. But getting those set up, has been more difficult recently. Also like this episode, the contributor segments aren't always enough to fill what I would like to be an hour long show. So I'm thinking of maybe changing to a format with myself and a cohost regularly doing a show and then sprinkling in contributor segments to that. Um, so if anyone is interested in being a cohost for that, can email me at email@example.com um, might do some test episodes to see if that works out. I think it would be a lot easier to consistently schedule recordings with just one cohost might be able to simplify that. But I definitely like having a variety of voices on the show, so I wouldn't want it to just be me and a cohost. And I certainly don't want to do a lot of us solo recording like this. I don't particularly enjoy it. I don't think it comes across as very interesting. I like to have at least one other person to talk to, to bounce ideas off of and have a conversation. So even if I had a cohost, I think I'd still want to get guests on to break it up. So it'd be similar to the round table episodes but have more of a reliable recording schedule and structure. But that's all up in the air. Just things I'm thinking about for the future of the show to help my calendar. That's about all I have before this. So now onto Cory's segment. Music: 04:33 [Music]. Cory: 04:39 Hello everybody. My name is Cory. Thanks for listening to new segment that Chris has offered to have as guests on his show, discussing specific things in the game design and development field. Uh, I messaged him after being asked to judge for the design contest and posed him a small segment about discussing how designers and developers are really building mechanics and themes in games in order to manipulate, evoke and convey specific feelings that people get through emergent gameplay and that is how we build our experiences in games that drive people. Some people talk about building games, mechanics first or building games, themes first or even building a game as an as an entire experience. I agree with all of those things. However, I think we have to go a bit on the experience point in that we create those experiences using specific mechanics or pieces and then the specific art style direction and box to convey specific feelings and one main one for most games, a specific core feeling that everything revolves around and that's how I designed my games. I do get inspired by seeing something at a flea market or seeing something in a piece of art that I am compelled to look at more and that is where I take my game design strength from so I don't get too far off track. Let's look at a game like the mind that is very popular and also can be contentious with people. I think that contention besides the game is on purpose and designed specifically to cause that reaction. For those who don't know, the mind is a game by Wolfgang Warsch from last year that is published by Pandasaurus games and uh, it's simply a cooperative game of dealing out cards to players based on what rounded is. All you have to do is put the cards in your hand from lowest to highest. It's a deck of parts from one to a hundred the catch is that you can't speak or communicate about which cards you have in your hand and who should play next and anybody can play at any time. During gameplay everybody wants everybody to wait and to slow down and to let them put their card down at the right time because you want to win and you don't want Jack across the table from you to play too quickly because he always does and then you end up losing a life and you've never gotten past level eight and you just want Jack to slow down and pay attention to your communication, which is very limited. I know some people say you're not supposed to have any of it, but maybe uh hold a card up over your head but not all the way over your head. You have some players that maybe take their hand from the top of the table and then take the card and then kind of hold it in the middle between their hand and the table to signify I'm about halfway. Maybe that means 50 maybe they mean their hand is 50 and that part is 25 but since you can't describe or verbalize what it is you are trying to say, that's the difficulty. That's the frustration. The ultimate frustration of course is when you are doing very well in the game and people are now getting anxious. Anxiety is also a feeling that's in the mind which is used in a lot of games, many different ways of course, but it's not the main one here and you're now anxious for somebody else that you might be playing with to not play a number too hastily without conferring with you. First you via your mental link trying to learn how to read people's emotions about what is happening in the game, whether they are excited, whether they are mad because of the last round and the game uses all of those emotions that are evoked from frustration in order to drive gameplay. There is a beginning, middle and end to the mind every round because you are, you're worried in the beginning going to get out the first card correctly so they can play from there. Kind of like jumping in the water and once that is in and people are all okay, you can now start swimming. There's a 26 there's a 31 the average spread in the mind is like seven or eight cards I think. So people were kind of keeping that in mind and now you're getting numbers that are 41 and then people are looking around and here's building anxiety and then come 61 and people are like, and then somebody else goes to whip out a card really quick and you go, can you put on a card? Because you have a 66 and this person looks at you, looks you dead in the eye and it's got their eyes wide open that they need to play. You are not sure because they've done this before and it really wasn't the best play and it's only five numbers. And so you accept that you're going to let them play. They play and it's a 67 and you're like, oh you did this last time. Oh man, that was our last life. Oh well that was still fun. That was great. I uh oh well that's what happens. That frustration is popped like, like a bubble, like pulled so tight that whether you do well or whether you do poorly and you fail that moment be elation. The, the, the, the prize you get from doing it is the same whether you win or lose the mind. It does feel bad that you didn't succeed. But the feeling of frustration being released and knowing whether you were on the positive or negative side of your frustration is what is so strong in the mind. You even have less frustration when you play with new players the first time you play the mind who the new players, they don't know how to play. And so you're not worried about being frustrated that way. Um, because they are going to mess up just like you did when you first started playing your going to have those moments that are funny where somebody should have played or somebody didn't realize what somebody was trying to convey because they aren't used to playing a game that you can't communicate in. And so it's Haha funny. It's after five games where somebody makes the same mistake or still doesn't slow down playing cards or never votes to use a Ninja star that you become frustrated as a player because there is a skill expectation level that you're going to attain. The more you play and if you play with people that don't play a lot or you play with somebody that wants to play but then always makes the same mistake, you don't think they should, not that they made a mistake, that's not okay and not a normal mistake. You don't think they should. You now have a higher level of frustration about that person's playing in the game and that feeds into the minds feedback circle. The game is over and we can talk about the mind on the Meta, which is where people discuss the game. Being a game or not being a game does have a ranking system of how well you played, whether or not you agree with the mechanics being part of a game. There is player interaction. Did you have to choose when you play a card, the people who are absolutely entitled to their feelings and opinion about whether the mind is a game or not. Outside of uh, I guess ludological definition sense they don't like it and they say it's an activity. And so we have two sides of an issue of a game. Not Saying the game is qualitatively good or qualitatively bad and each side usually has a discussion with another person amiably like we're talking about now about why they think it's a game and why they think it isn't a game. And that's a frustration. That whole argument of people over the game is a frustration. It's frustrating when somebody doesn't listen to you about why it is a game because of x, y and z definitions and reasons. And it's frustrating as a person who doesn't believe it's a game who I do have close friends who don't feel like it's a game and don't enjoy playing it and don't understand why it's so successful. And they're frustrated because they have games and designs that are very good and are not published but they think are qualitatively better than the mind because the mind is asking players to basically run the game themselves. That is my take on the main core feeling behind why the mind is a well designed and I think that's enough for another podcast episode. Listening to me talk about feelings. I am Cory uh c-o-r-y-m-u-d-d-i-m-a-n. You can find me on Facebook, on Instagram @corymakesgames and @corymuddiman on Twitter. Um, I do design with a partner, Ryan Kellums and we have started our own company together for um, design, it is called Wryknot, w r y k n o t at wryknot.com and you can email me there at Cory or Cory@wryknot.com w r y k n o t about the show. And I will gladly message you back and if you want answer questions as best I can on the show. Yeah, thank you. Bye. Chris: 14:28 That's all for this episode. The Board Game Workshop is a member of the indie game report. You can check out their reviews and interviews at theindiegamereport.com. Thank you to all of our Patreon supporters, especially our inventor level supporters. Chris Turner, Vegan Al, Brad Bachelor, Rosco Schock, Vas Kottas, Cory Muddiman. If you'd like to support the show, go to patrion.com/theboardgameworkshop. You can follow the show on Twitter @theBGworkshop and on Facebook @theboardgameworkshop. Join the show's Discord channel to discuss episodes. You can call the show's Google voice number at (725) 222-8249 and leave a question or contributor segment for a future episode. You can get the links for these and all show notes at the board game, workshop.com thanks for listening. Music: 15:08 [Music].