Monthly Archives: July 2024

Being Efficient with Components Through Game Design and Visual Design

Picture of Written by Niall Crabtree

Written by Niall Crabtree

Niall is the director and designer at Crab Studios, and external designer at Team 17. He specializes in game design.

What is Component Efficiency?

The general concept of component efficiency is: “to use design/art to minimize the number of components required to achieve the desired gameplay”.

Why be Efficient With Components?

There are many reasons why you should be efficient with components, that both benefit you, the player and your game.

  • The obvious, the unit price of your game will be cheaper as a result of fewer components.

  • The size of your game should hopefully be smaller, and the weight of your game should hopefully be lighter, resulting in cheaper shipping.

  • Players have less components to set up and manage, resulting in less of a barrier to getting games to the table (this is applicable for all weights).

  • It is generally easier for players to be onboarded into your game with fewer components, less chance of them being overwhelmed and depending on the design, less for them to learn as well.

How to be Efficient With Components

Let’s start with an example. Tiny Epic Dinosaurs is a game in the “Tiny Epic” series by Gamelyn games (surprise I know).

In Tiny Epic Dinosaurs, you track two types of resources, meat and vegetables. Unlike most games, that would simply provide 2-3 punchboards worth of tokens for all players to use to track the number of each of these resources they have, Gamelyn simply added a track around each player’s player board. As you can have you can have a maximum of 13 of each resource, and it is a 1-4 player game, the game would have had to come with 104 tokens. Instead, with this method it only had to come with 8.

This is also a good example of how efficiency can be beneficial for the you, your bottom line, and the player. This is because in this scenario, the player would have to organise, setup, and store 108 tokens, which considering the weight of this game would be a big hinderance and a big barrier to the table as the time it would take to distribute these tokens evenly amongst the players would be a significant chunk of time spent with this game on the table.

Another example is in the game The Binding of Isaac Four Souls. On the surface, this game isn’t super-efficient as it boasts hundreds of cards. However, that was necessary to create the experience required for the game and is actually a good example of when being inefficient is needed for the sake of the design.
However, with regards to another aspect of the game, health tracking, the game saved a lot of money for publisher, and removed pain from the player by replacing heart tokens with dice for the monsters.

Using a D8 to track health (meaning that the dice face indicates the current health of the monster) rather than heart tokens, saved on potentially 40 heart tokens (as there is the potential to have 5 or even more monsters (though unlikely more than 5) on the field at once). Additionally, like Tiny Epic Dinosaurs, it saved the player from having to use this tokens on an already crowded table to do the same job.

Sticking with Four Souls, the game was also designed to make health tracking as a whole easier on a turn-by-turn basis. Players themselves start with just two health, and health resets every round, meaning that there is no need for a physical track for players to remember this information, saving components, table space, pain for the player, and money!

Overall, its safe to say that not all games to do this with every aspect of their game, as it is difficult to know with certainty whether you are adding or taking away from the player experience for the sake of the bottom line, and for creatives that is hard to consider. However, through playtesting it is incredibly important to always ask “do I need these components, are they necessary?”, or “Is there a more efficient way to achieve the same effect”.

Getting Your Game To The Table

Picture of Written by Niall Crabtree

Written by Niall Crabtree

Niall is the director and designer at Crab Studios, and external designer at Team 17. He specializes in game design.

What do you Mean “Getting Your Game to the Table”?

The first concept to understand is this: in the board game sector, which is unlike any other gaming sector in this regard, consumers are not considering buying your game just for themselves (unless it is a solo game). When considering a purchase, one of the top questions the consumer needs to ask themselves is “who will play this game with me?” or, “can I convince anyone to play this game?”.

This question is one that is being asked more and more as the epidemic of unopened/unplayed games consuming players’ kallax shelves has never been more present on social media as a key talking point.

So, not only is your job at the designer of your game to make a great game that people will enjoy WHEN they play it, but to design a game which is attractive to a wide enough audience that it is easier to get people TO play it.

How to Get Your Game to the Table

There are multiple ways to improve your chances of getting your game to the table. I shall list and go through them below, this does not mean that it is recommended to do all of these, but the list should give you enough suggestions to make changes to your game to improve your chances.

  • Make your game fit your target audience (see article about player personas). Most players often play with players who like similar games to them, so if your game has a lot of key mechanics, and has artwork which aligns with your target audience, then it will be an easier sell to get your game to the table.

  • As an extension to the previous point, make the box size, components, and rulebook fit your target audience. For example, if your game is targeted at a player persona who enjoys light-weight games, but your box is 280×280 and your rulebook is 20 pages, then it will almost certainly never be played.

  • One strategy to get your game to the table starts at the concept stage. Creating a game that is designed to be an improvement on another is an easy/low risk way to make sure you reach the right target audience, and improve the chances of getting it to the table. If reviewers say that this game is “like x game, but better” then your target audience shouldn’t have any issue convincing their like-minded friends to play it.

  • Through component efficiency (see article about component efficiency) make it an easier sell to the initial consumer to suggest the game in the first place. A lot of consumers who host board game nights often either look up a how to play video (which often includes the setup) or does a run through of the setup of the game before their friends arrive. If they find the setup laborious and tedious, or just generally takes too long in comparison to the length of time it will be played, it is unlikely they will even suggest it to be played.

  • Design your game so that mechanics which are common pain points for your target audience are not a core mechanic, or are not part of your game at all. For example, if your game is targeted at the euro game market, with potentially a cosy art style, then having a core take-that mechanic which is actioned every round will put a big enough portion of the target market that at you can rely on at least one member or a friend group rejecting the idea of playing the game.

To reiterate, these are just some examples of how to help get your game to the table. With the notion now in your head, hopefully this can be apart of your thought process when it comes to designing and developing your game.

Why is Getting my Game to the Table Important? They Have Already Bought it!

This is a valid point, and you shouldn’t feel bad for having this question. However, more and more so, especially via the self-publishing route, the longevity of board games is as important as ever. Whether your next game is a sequel or expansion to the previous one, or whether you are creating an entire new IP, players nowadays remember and care about how much your previous game got played.

Additionally, if we adjust our mindset to take into account the overall health of the board game market (which affects us all, big and small) then striving to create games which get to the table more often can only be a positive to you. If the consumer’s confidence grows through experience in the fact that when they buy a game that appeals to them, that they will get to play it, then this should have a long lasting effect on the success of your games, as well as the market as a whole.

Player Personas And Why They Are Important

Picture of Written by Niall Crabtree

Written by Niall Crabtree

Niall is the director and designer at Crab Studios, and external designer at Team 17. He specializes in game design.

What is a Player Persona?

A player persona is a tool used to design a game for a target audience by using an imaginary individual as a “player” to design the game for.

As a quick example, let’s imagine you are using a player persona called Dave, who likes mid-to-heavy-weight, strategic games, with their top five games on BGG being: Twilight Imperium, Scythe, Root, War of the Ring, and Kingdom Death Monster.

From creating this player persona, you can identify the target audiences’ preferences in both design and art, as well as price point in most circumstances.

How to Make a Player Persona

There are a few ways to you start this process, however, I always find that starting the development journey by prototyping a concept that have embroiled you with passion, and then understand the natural player persona for that initial concept, is a great way to guide you through the development process.

On the other hand, it is valid to start, even before concepting, with outlying a player persona. In this case, there aren’t as many restrictions or rails to keep you in check, so using your inherent understanding of board games and the general preferences of a target audience sector would be a good start.

For example, say you pick a player persona who likes replayability. You can then use BGG to find games that have elements such as dice, randomness etc. From there you can build up your player persona and their preferences.

Designing With Player Personas

Using Dave as an example from earlier, even with just a brief search on BGG, we can outline his core mechanic preferences.

  • Combat/PVP

  • Engine Building

  • Territory/Area Control

Additionally, with more research and playthroughs of the games listed in Dave’s top 5, we can outline key actions/emotions we want players to experience in our game.

  • A sense of progression through building an engine and improving your actions each turn

  • Meaningful decisions that directly affect yourself and your opponents

  • A sense of growth of influence over other players

From this quick, high-level overview, Dave has been very helpful at either helping us with our concept, or adjusting our existing game in order to better cater for our target market.

Player Persona Driven Artwork/Graphics

Let us shift to a different player persona that we will quickly outline.

Harry’s top three games on BGG are:

  • Exploding Kittens

  • Unstable Unicorns

  • The Binding of Isaac: Four Souls

Just focusing on the artwork/graphics, we can see that Harry prefers his games to have:

  • Vibrant colors

  • Cute/simple characters with easily identifiable characteristics

  • Iconography over text for key information, but text to help with explaining more complex actions.

If we are designing a game for a target market similar to that of Exploding Kittens or Unstable Unicorns, but we are not catering to the preferences of Harry, our player persona, then making changes to the art and graphics could help bridge that gap.

Price Point, With Aid of a Player Persona

The board game sector is by far the easiest out of all the gaming sectors to use player persona preferences as a guide for price point. This is because more often than not, mechanics and artwork directly link to weight, which directly links to price.

Returning to our player persona of Dave, who liked games like Scythe and Root, we can quickly see that our price point should be between the $50-70 range. There are of course outliers like Twilight Imperium, but it should be pretty obvious whether or not your game falls into a similar sort of price range.

At this point it is prudent to also compare your game with the player persona’s top five and see whether or not the tangible value is similar. If all the player persona’s top 5 have miniatures, and your game does not, this could impact the parity in value in a negative way. This isn’t to say that you must add miniatures in order for your game to have the same value as these other games, but it is worth considering whether miniatures (in this example) are key to that value proposition for your target audience.

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