A board game designing diary: Witless Wizards

I’ve always enjoyed the ‘I split, you choose’ board game mechanism: one player divides a group of items into smaller sets, but the other players then get to choose one of these sets first.

Its a fabulous and underused concept most famously employed in classic San Marco and more simply in New York Slice (formerly Piece ‘o Cake) – with games such as Coloretto, Isle of Sky, Castles of Man King Ludwig and Biblios using a take on the system in their mechanics.

Of these, I found Biblios most fascinating. One player takes as many cards as there are players (plus one) and allocates one to each player. They give one card to each player and one is put on an auction pile for later – but what makes the decision delicious is that you only see one card at a time, so have to allocate them as they come out – adding a big ‘push your luck’ element to the game (another mechanism I really like).

But while I enjoyed my first few plays of Biblios, this is only about half the game – and I didn’t find the other half very compelling. This drafting is followed by an auction phase which just doesn’t do it for me. Don’t get me wrong – it’s a great and well respected game, but the overall package just wasn’t for me. So, as you do when you’re a budding game designer, I set out to try and make something that was.

The first draft (ho ho)

I made the first (absolutely beautiful) cards for the game in December 2013, with the intention of making a very small two-player micro game (hey – they were cool at the time!).

The basic mechanical ideas for the game were already in place and haven’t changed since: player 1 draws a card and either assigns it to themselves or their opponent. The next card will go to the other player – but on either pick the player could spend energy (generated by some cards at the end of each round) to draw one extra card, giving them more of a choice.

After drafting, the drafter would attack their opponent: wounds vs defence, plus a (1-3) dice roll. This would go back and forth, until one player had lost all of their 25 health – and the game was over. A simple use of the excellent Biblios mechanism in a smaller, faster, nastier and sillier little battle game.

For first testing I created a 14-card deck: it was to be a 16-card game for Brett Gilbert’s Good Little Games website, with the other two cards being scoring/health card. There were eight weapons and six armours. Each player could have one of each, and could never refuse a card drafted – any new card discarded the old one. Weapon strength ranged from 2-8, armour 1-6, to ensure players would always be going downhill health-wise – although energy could also be spent to heal at the end of your turn.

I dubbed the game War!Drobe (a title which, pretty unbelievably, would be taken by another game in the following years). The theme was simple: two wizards powering an automaton each, which they were manipulating through time and space into odd fighting machines. Half the cards were medieval, the other half sci-fi.

The first hurdles

Having damage and defence on every card was quickly dropped, as it was a pain to add up each time while offering nothing of real worth to the game. At the same time, two card slots and just 14 cards made for very little replayability – and every time I played, I was thinking of (and being given by opponents) great ideas for new cards.

I made the decision to go to three slots: one weapon, one armour, and one ‘enhancement’ – an idea I’d toyed with as an extra list of things you could do on your turn with energy, but which had proved unwieldy in practice. As cards though, it really helped to add loads of cool special powers.

I also abandoned the idea of this being a pure micro game: there were way too many fun ideas to play with, and ideas for extra sets of cards. But what about a micro game that came in two-set decks? The first could be Medieval and Sci-Fi, but you could also buy Ninjas and Buckaneers, or Crusaders and Magicians.

I moved to eight-card decks, each of which had three weapons, three armours and two enhancements – and each of which had mechanisms I tried to fit to theme (magicians gained and used more energy, sci-fi items did big damage, crusaders healed well etc).

Testing testing testing…

Other mechanical issues included game duration, deck size and card balance. Health dropped to 20 (or a 12-point short game) to stop it overstaying its welcome, while I settled on a three-deck (so 24-card) standard game, or two-deck tactical game where you’d have a much better idea of what was coming.

I also moved away from any thoughts of a micro game as the general gaming population quickly fell out of love with the format (as sales of Empire Engine will sadly testify!). This freed me up to add ‘concentration cubes’ (to replace an energy track), a custom dice for damage and player sheets to keep your cards on.

Card balance was an interesting one. In theory it didn’t matter at all, as it was a shared deck of cards. But many small issues developed in terms of decks clashing with each other in annoying ways. Some deck combinations would lead to way too many concentration cubes, or too few; some would see very slow damage, others ridiculously fast wins. It took a lot of combo plays to ensure they all fell into an acceptable (but still very random and fun) range of results over any given game.

The final big change to the system was to do with healing. It was slowing the game down a little to much and adding an extra decision point to every round that felt unnecessary in many situations. I solved this by making healing a last-gasp desperate act you could only call upon if you had five health or less left at the end of your turn. Having this as a late game decision added a bit of an extra arc to the game too.

The publisher problem

I took the game to Essen in 2015 to show it to publishers. While several found the concept intriguing and enjoyed their play, it soon became clear that the bigger publishers really weren’t looking for a two-player game – while its look wasn’t going to help win anyone over.

The look was perfectly playable, but it didn’t help convey the playful feel of the game. This hadn’t been an issue with other games I’d demoed as they were more ‘euro’, so especially the German publishers were used to seeing that kind of prototype. This time, though, I needed to up my game.

First, I went away and made rules for first a three and then a four-player variant. It was surprisingly easy to up the number of players – a good lesson for anyone who gets stuck in a rut of their idea of their game. Taking on other ideas while occasionally taking a big step back from your game can be hugely useful.

I thought about better ways to present the game, and came up with the idea of locking the cards together to make a picture of the automaton. I didn’t make the whole game into cards in this way, instead doing some example cards to show a publisher how it might look finished.

I hoped this would fire the imagination, without me having to spend an awful lot of time and energy, or money, creating a bunch of art that would probably never be used. I settled on making it of the actual wizard instead, simplifying the theme a little too.

I found some artwork online which luckily depicted a wizard, a ninja and a viking in exactly the same style – three of the themes I’d chosen for card decks. I feel they got the idea across image-wise, without me having to do too much extra. A talented graphic design friend at work (thanks Simos!) helped me with the layout and I was ready for round two of facing publishers, this time at UK Games Expo in 2016. (Sorry, I would have linked to these great images, but I can’t re-find them on Google :/).

War!Drobe finds a home – as Witless Wizards

Unfortunately UKGE wasn’t the best place to meet publishers. While many good companies had stands there, their decision makers were very rarely in attendance (with so notable exceptions). However, a really productive meeting with LudiCreations saw head honcho Iraklis suggest I contact his friends at Drawlabs.

We met up at Essen 2016 and the deal was done. After a frustrating 2017 (for both of us) when progress stalled due to reasons beyond our control, Drawlabs really got into top gear this year. Asterman Studio were brought on to do the art and have done a magnificent job.

Drawlabs also made some changes to the rules, simplifying a few things but largely keeping the original game intact. They also changed the theme slightly, for the better I think, while we worked together to add a lot of humour to the card titles. A close to finished version of the game was demoed at UK Games Expo 2018 and it hit Kickstarter a couple of weeks later: a five-year process that was so worth the wait.

And so the Kickstarter campaign begins…

If you’d like to back the game to help it become a reality, or just find out more, head over to the Witless Wizards Kickstarter campaign before June 28. Pledges start from just £14 for the game, which you’ll get later in the year.

You’ll find loads more artwork there, as well as a link to a rough copy of the rulebook – plus a link to a playable version of the game on Tabletopia. I’m finding the Kickstarter process incredibly stressful, at a time of my life when I’m incredibly stressed anyway, but it is at least a weirdly welcome distraction. But if it sees my first solo design become a reality, it will have been worth it.

So that’s that: how a design concept introduced by the excellent Steve Finn was adapted from a serious hand management auction game into a humorous take-that fighting fantasy game. Any questions, please ask away in the comments below.

My first solo design, Witless Wizards – now live on Kickstarter!

I’ve been designing games for a few years now, which has been a great experience, especially as all the games I’ve had published to date have been collaborations with friends. But this time, I’d really appreciate your help!

The other thing my previous games had in common is the publishers haven’t used Kickstarter to help fund the projects. For those who don’t know, Kickstarter is a crowd-funding platform where the public get to be part of the production process by paying for a copy in advance, backing the success of the game up front as individual investors.

You can guess the rest: yes, my first ‘all me’ designed game (terrifying enough) is also now my first crowdfunded game on Kickstarter. Gulp. And you can back it now!

The game is called Witless Wizards. It’s a light, humorous family card game for two to four players that only takes 10-20 minutes to play. It’s a battle game, where each of you plays a wizard trying to defeat the others in a competition. And it’s only about £20.

You draw cards and play them either on yourself or your opponents: the twist is, if you put the first card on yourself an opponent will get the next one (or vice versa) – but you won’t know what that will be until after you decide. There’s more strategy than that, but hopefully you get the rough idea. And there are multiple card sets used as the wizards travel through time to get an advantage – from sci-fi to crusaders to ninjas to pirates…

Anyway, I’d be pumped if any of you backed the Kickstarter and helped the game become a reality. Even if you don’t want, or can’t afford, to back it – I’d also be pumped if you could share the link. Anything like that will also be a big help. And if you have any questions at all that aren’t answered on the Witless Wizards Kickstarter page, please ask away. Cheers!

A board game designing diary: Pioneer Days

Some game designs come together easy – while others certainly do not. For every back-of-a-cigarette-packet mechanism that just goes from theory to ironing out the details, there are many, many more that are years in the making.

Rather fittingly, I guess, Pioneer Days – a game about the long, hard struggle of winning out against adversity – falls into the latter category.

Fact junkies: Add 200 years to the dates for a more accurate reading… (and much love to co-designer Matt Dunstan, who also wrote the original draft of this diary).

December 1813

We first set out, from Australia and England, on a journey quite unlike the one that would shape out fate: to design a game about dwarves brewing beer. But as with so many grand designs, our plans were dashed on the rocks and the expedition was a failure. Over complexity, and ideas that didn’t quite hang together, saw us walk away from yet another promising adventure.

But those initial dreams did bear some fruit: a crumb of an idea in which dice were rolled but, no matter whether they were 6s or 1s, you’d have an advantage of one kind or another. Here, we had individuals rolling their own three dice then using them to draft cards, each representing a worker dwarf: low rolls would get the first choices of cards, but higher rolls would use the cards they drafted more effectively. I still hold some hope for the idea, but at the time it had too many issues. Hate drafting was rife on low numbers, choices limited on high ones, and all round it was unsatisfying.

March 1814

Undeterred by our earlier failure, we set out with a new destination in mind. America! Matt had a plan: three cards per player will still be drafted with their dice (lowest first), but the cards will have a number of profession symbols (traveller, miner, farmer etc) on them.

The dice now only give a one-time bonus to the players, with the highest collection of each profession giving that player a bonus for the round; meaning the drafting was also about long-term strategy with the professions, rather than just short term tactical play.

Actions saw players move caravans across the plains; mine the hills; build in new territories; fight off hostiles, and of course feed their hardy pioneers. But something still wasn’t right. While we were now firmly on dry land and resolved to discover a new destiny, the dice mechanism still didn’t sit well with us. Low rollers were still denying others of the actions they want and the compensation for the high numbers wasn’t strong enough. Are we simply doomed to repeat our earlier failures?

May 1814

A breakthrough! Dysentery and terrible weather had laid us low, but the skies cleared and we could clearly make out the way ahead. Rather than different coloured dice for each player, the dice colours will represent disasters that may befall all our pioneers – and will be rolled from a bag each round. Players will draw one more dice than there are players, and draft one each – with the one leftover moving that disaster one step closer to befalling those brave souls. Colours represent illness (medicine required!), raids (there goes your money!), heat (your cattle will suffer) and terrain (say b-bye to your wagons – which were holding all your stuff!) – with the dreaded black dice seeing all four disasters moving ever closer.

The game has five turns, with each player taking five dice each turn, for a total of 25 actions in the game. Each can be used either for money (where high is better – and can be spent on wagons, specialist workers etc); or for an action (with better actions tied to lower numbers). And as an added twist, your final set of five collected dice will create a Yahtzee/poker style ‘hand’ which will give bonuses at the end of the round. We feel confident in our new-found mechanism – but will it just be another false dawn?

August 1814

We spent the previous few months on the trail with a more singular purpose and it finally bore fruit! The answer wasn’t poker, it was people! While we fine-tuned the mechanical side of the game we realised what it really needed was the personalities that made the original idea so compelling – the people (now pioneers) themselves.

These hardy folk have added a whole host of interesting abilities into the mix, adding more interaction between players and making the base actions far more varied and complex. But as well as adding colour, these pioneers have brought two levels of mechanical progression that have sealed the game’s structure.

The poker idea has gone. Instead, your pioneers offer a third (neutral, in terms of number rolled) option when choosing what to do with a dice: each number now has a person randomly drawn next to it each round, who you can add to your wagon train with that roll. And better still they each have a way of scoring end game points, helping you choose a particular path to follow. If you can keep them alive to the end of the trail…

January 1815

An investor! Our very own Oregon Trail seems to have ended, in fact, in Utah – via Essen, Germany. Back in October we met with a character named Seth Jaffee who represented a company called Tasty Minstrel Games: a publisher we trusted to do the right thing by us and our game, then called Frontiers. He took the game away to show it to his partners – and low and behold, we have ourselves a deal! The game we gave them back then was rough around the edges, but mechanically sound – and we’ve spend the last few months going back and forth with them smoothing the edges.

The difference between publishers is astonishing. Sometimes you can hand a game over and out it pops into the shops a year later with nary a detail changed; while with others you can be all but cut out of the development process. But if we thought we’d be able to hang out spurs up and relax this time, we were in for a shock! We’re consulting every step of the way, with not a week going by without discussions of a particular pioneer’s ability, or the relative strength of a particular action. It’s a long process, but worth every second – because each week, you know the game is getting better.

June 1815

While the trail is long and winding, and we often feel the end is in sight only to find another fork in the path, we continue to persevere. I was worried we may be taking too many rough edges away: this is the Wild West, after all.

But in hindsight I can see the wisdom behind Seth removing some of the more trouble-making townsfolk. Who knows, maybe they can return one day? Elsewhere, wagons now take damage rather than being destroyed by storms – meaning you won’t lose as many valuable resources!

As fun as some of them were, some ‘take that’ elements are just a little too crass for this style of euro game: especially when the key focus should really be on the disaster track. You should be worrying if bandits will take your gold if you let a disaster happen, rather than another player sniping it from you. If I’ve learned one thing from all the game design blogs I’ve read and podcasts I’ve listen to, it’s this: find where the game is. For us it is on the disaster board, and the tension that it brings – that shouldn’t be upstaged.

December 1816

The end of the trail cannot be far away now! Many months of further small iterations have seen us create themed decks of townsfolk, while working on individual player board abilities. The game is now called Pioneer Days, and artist Sergi Marcet has been brought on board to bring the game to life. He’s done an amazing job, even bringing some of our family members and play-testers to life on some of the townsfolk cards. You may even recognise a few of our fellow Cambridge, UK-based designers.

The different decks of townsfolk really help make each game feel different, as you can mix and match; some add a bit of randomness, others interactivity etc. The varied player board characters encourage different types of play style. You get two to choose from at the start of the game, but each also has a standard pioneer on the back (always a solid choice), so you can still opt for a balanced game if that’s what floats your boat.

October 2017

A limited supply of copies arrived at Essen Speil via aeroplane. Opening the first copy to find a beautiful game – but no dice – was a little terrifying! Especially as we opening the next, and the next to find the same thing… But a few phone calls later and we knew (prayed) they’d arrive the next day. They did – and the limited copies soon sold out, leaving us waiting on the rest to arrive by boat – perhaps even in time for Christmas?

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But once again, in a fitting nod to those hardy pioneers of old, transportation of the game across the seas hit rough waters. But despite what clearly must have been a succession of black-dice-level disasters, we never lost hope – and in Spring of 2018 Pioneer Days finally completed its troubled journey to the USA. We hope you like it!

Con report: UK Games Expo 2017

At last week’s UK Games Expo I managed to break my own PB for different hats worn and sleep deprivation, adding ‘PR demo guy for a publisher’ to my usual list of designer (on booth), designer (publisher meetings), designer (play-testing), journalist and punter. It was an exhausting four days, but thoroughly enjoyable all the same.

My PR stint involved showing the next three games from LudiCreations to a variety of games journalists: Iunu, Diesel Demolition Derby and Alexandria. I’m lucky enough to now have one of my co-designs with Matt Dunstan signed with Ludi now, so I’ll no longer be reviewing its games – but I wanted to give a bit of a preview of them here.

Elsewhere I got to help out a bit with demoing Armageddon to a steady flow of punters, grab a few new games to review and show some of my own new titles to some great publishers – as well as catching up with lots of old friends I only seem to see in Birmingham, Eastbourne and Germany nowadays!

Ludi’s latest creations

I was demoing three games for LudiCreations: one currently on Kickstarter, and two more on the way in the next month or so.

I had the pleasure of sharing the games with the fine people at The Game Pit Podcast, Polyhedron Collider, Creaking Shelves, Broken Meeple and Devon Dice. Hopefully you’ll be able to check them out for more opinionated articles.

Iunu is on Kickstarter until June 30, for as little as $10. It’s a simple yet clever 2-4 player card game with elements of drafting, set collection, building majorities and engine building. It has a delicious tipping point midway though and, despite looking very simple, packs some genuine decisions into a short playing time (sub-one hour). It demoed well with everyone I played with – and you can try it yourself on Tabletopia.

Diesel Demolition Derby is a simple ‘robot smash’ drafting game from Matt Dunstan. Rounds are super fast, with many cards having effects that hit your opponents’ robots as you all try to get the most strength in machines into your tableau – but the bigger the robot, the bigger the target and the little ones, played well, will often give you those satisfying David and Goliath moments. There are a bunch of arena cards that make every round different, it plays 2-6 and lasts about 30 minutes. One for fans of filler games, drafting, simple combat, micro games, and trying to read your opponents’ plans.

Alexandria is an asymmetric, action point allowance and hand management game, played out on a modular board representing the great Library of Alexandria (2-4 players, 1-2 hours). Each character has a unique card deck and they all play very differently; as you’re trying to save particular items from the fire, you can bet one of your opponents is trying to smash them to gain their own advantage! The board shrinks each round, adding to the tension, while a bunch of reaction cards keep everyone on their toes. It tells a strong story, and will appeal to euro fans who like a bit of interaction in their games and anyone who enjoys putting together card combos.

The now, the soon and the maybes

It was great to see Queen Games at Expo, with two tables demoing Armageddon. They didn’t have loads of copies with them but they sold what they had, and the tables were full all weekend. It was fun watching groups sit down to learn the game but instead of playing a couple of turns, stay for the whole game.

It was also great to catch up with Seth Jaffee, of Tasty Minstrel Games. He has been developing Matt Dunstan and my next release, Pioneer Days, which should be out later in 2017. It’s a dice-driven euro game which I think does a good job of bringing out the Oregon Trail theme; and I’m super pumped at how the finished version is turning out.

Armageddon co-designer David Thompson and me also showed our most recent two prototypes to several publishers. It’s hard to believe how far the Expo has come in just a few years, in terms of the staff from top publishers in attendance: they genuinely see it as a key event on the calendar. The likes of AEG, Pegasus, Queen, Mage Company and Mayfair all had senior staffers on hand, to name but a few. We didn’t sign any deals, but had some positive meetings.

Reviews incoming

I was deliberately subdued on the review front for two reasons: one, I’ve still got games to review from Essen so didn’t want to add to the pile too much; and two, there really wasn’t that much ‘new’ stuff on show that interested me. There were lots of mini-heavy offerings, some pretty rustic looking affairs and a bunch of hopeful Kickstarters: not really my bag!

I did grab Design Town from Pegasus; Kingdomino and Baobab (Tumble Tree) from Coiledspring/Blue Orange, and The Cousin’s War from Surprised Stare. Design Town, or Flip City, is an interesting deck-builder; Tumble Tree a great little dexterity game; Kingdomino a light domino game recently announced as one of this year’s Spiel de Jares nominees; and The Cousin’s War is a light and fast two-player card driven war game. Hopefully I’ll get them all reviewed before Essen…

As for being a punter, I realised on Sunday morning that I’d played 15 games at the con to that point – only one of which was published! That was classic Knizia bidding game Medici, that I’d never played. I managed an inglorious last place but did enjoy the challenge – thanks to Rogue from GCT Studios for teaching.

Pros and con cons

At the end of the weekend, thoughts inevitably turned to next year. This time I stayed at the Hilton Metropole for the first time, which was brilliant in terms of being able to sneak off and desocialise when all the crowds and noise got a bit much. And it was also a godsend on two occasions when I needed to demo games, but we couldn’t find a free table anywhere, so used my frankly ridiculous sized room.

But despite a comfy bed and fantastic breakfast, the hotel was pretty awful. Staff were often rude and/or incompetent (especially at the bar), my room was never properly cleaned and the price of everything – from the room to drinks and food – was ridiculous for the poor level of service provided. I get better cleaners/bar staff in London fleapits. I expect I’ll try and get into one of the other large hotels nearby, if I can afford it…

As for UK Games Expo itself, I continue to be amazed at how it copes with exponential growth every year with such little fuss and drama. As ever the Expo volunteers were helpful and smiling throughout the weekend, in stark contrast to those of the Hilton. But while the areas of the NEC used were well organised, the Hilton gaming space was at breaking point the whole weekend; a problem they’ll have to seriously address – and get ahead of – for next year. But i’m confident the organisers can, yet again, rise to the task.

Designer’s Dozen: Q&A interview with Geoff Engelstein

Game designer, developer and podcaster Geoff Engelstein is an MIT graduate from Queens, New York.

His design credits to date include the popular Space Cadets and Space Cadets: Dice Duel, The Fog of War, Survive: Space Attack! and The Ares Project.

Many will also know him as the co-host of top board game design podcast Ludology, as well as for the insightful ‘GameTek’ segments he provides for The Dice Tower podcast.

This is the eighth in a series of Q&As with published board game designers. The idea is to ask them all the same set of questions, so people can compare the answers and build an insight into what makes designers tick – alongside a stock of answers to questions all new designers will end up facing themselves.


1. If not games design, what pays the bills? Do you do anything else creative outside of games design, paid or unpaid?
Game design definitely doesn’t pay the bills. I have a company that does contract engineering design and manufacturing for a variety of industries. Companies and individuals come to us with product ideas, and we turn it into something real. I’ve got a team of engineers, covering electronics, software, and mechanical design. I’ve got a background in physics and electrical engineering myself, although I do a little bit of everything.

2. Who is your favourite designer(s), and which one do you most admire? What is your favourite design(s) by them?
I’m a huge fanboy of Vlaada Chvatil, going back to his earliest designs (Graenaland and Prophecy). His designs are so diverse, innovative, and seemingly effortless. My favorite would have to be Through the Ages.

3. What drew you to game design?
I’ve always loved to create, but within the context of making something functional. There are tremendous parallels between engineering and game design – concerns about achieving goals within constraints, etc – so it really fills the same need for me.

The immediate thing that made me try my hand at designing was a game that, although good, didn’t do what I wanted. So I decided to make it myself.

4. When you design, what tends to come first – theme or mechanisms? And why? Do you design with a specific type of person in mind?
Neither. I start with an experience in mind. I guess that’s closer to theme than mechanics, but it’s more about emotion and storytelling than those two terms cover.

For example, I would never sit down to design a zombie game. That doesn’t help it all. You need to bring in the emotion. A zombie game about being trapped in a mall, with the zombies pounding down the door? A zombie game where you play a world power trying to stop zombies from spreading across the globe? Those are experiences, and it’s where I like to start.

5. What are the best and worst aspects of game design?
That very beginning and the very end are the best parts – that first rush of ideas, and seeing the game on store shelves. Everything in between is tough – endless iteration, trying to convince playtesters to give it another shot, and more. Of course there are great moments during that in between period when a great solution snaps into place, but in general it’s hard work.

6. What is the hardest type of game for you to design?
I’ve tried to design a really simple microgame for years, without success. No matter where I start it always ends up being a hundred cards and tons of tokens.

7. What is your best prototyping tip for a budding designer?
Spend as little time as possible on your prototypes. Scribbling on index cards is a great place to start. I keep a stack of different colored index cards on my desk just or that purpose. You’re going to throw a lot of stuff away, so make it as psychologically easy as possible.

Then once things are a little more mature, if you’ve got a fair number of cards, learn how to use a card merge system to make it easy to make changes. I use Adobe InDesign and Excel, but there are many great solutions out there.

8. Would you mind sharing your worst publisher game pitching moment?
I got Zev from Z-Man to look at my first ever design. I knew it wasn’t done, but thought it was pretty close, and that Zev would see the obvious genius of the design.

The playtest went completely off the rails, and the ending was absolutely horrible. And it was obvious there wasn’t any genius. I was horribly embarrassed, and actually shelved the game, where it sits to this today. Fortunately Zev was open-minded and ended up publishing my next design, The Ares Project.

9. And what has been your best game design moment?
This is a tough one. Probably the mechanism I am most proud of in one of our designs is the ‘core breach’ mechanic in Space Cadets, which was designed by my son Brian. We needed a more exciting way for the players to lose, rather than just accumulating enough damage.

So we tried to figure out a way to have the game end with a bang – winning or losing. If the ship takes too much damage it doesn’t blow up right away. The next turn, while you’re doing everything else to run your ship, you also need to fix the core breach. You have 30 seconds to do it all, and the core breaches get harder each time they re-occur. It puts the players’ fate back into their own hands, and adds incredible drama.

10. Which style of game is your own personal favourite to play?
I love civ building games, like Through the Ages, Clash of Cultures, and the like.

11. What would make the tabletop gaming landscape a better place?
I’m not sure on this one. I think it’s a pretty good place. However, I would love to see more diverse backgrounds of designers, in terms of gender, nationality, and ethnicity. It’s better than it used to be, but we still have a ways to go.

12. Tell us something about yourself we probably wouldn’t know.
My great-grandfather Samuel Engelstein started the Great Coney Island Fire of 1911, which was the beginning of the end for the amusement parks out there.