How to Create Your First Board Game

3rd Edition

By Aaron Frias

No part of this publication may be reproduced, stored in a

retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without written permission of the author.

For information regarding permission please visit

www.GearLockGames.com.

Copyright © 2019
1 | Page
2 | Page
How to Create

Your First Board Game

3rd Edition

By Aaron Frias

3 | Page
4 | Page
How to Create

Your First Board Game

Contents

Contents
Additional Reference Material .......................................... 11
Chapter 1 Introduction ....................................................... 13
My Story ........................................................................... 14
My First Game Design.................................................... 16
Chapter 2 Your Game Idea ................................................. 17
Journaling......................................................................... 17
Common Board Game Trends ....................................... 19
Common Game Mechanisms ......................................... 21
Deck Building .............................................................. 22
Set Collection ............................................................... 23
Worker Placement ....................................................... 24
Social Deduction ......................................................... 25
Area Control ................................................................. 25
Take That...................................................................... 26
Auction/Bidding .......................................................... 27
Roll-and-Write ............................................................. 27
Co-Operative Play ....................................................... 28

5 | Page
 Dice Rolling ................................................................. 29
Game Mechanism Resources ......................................... 32
Theme ............................................................................... 33
Player’s Experience ......................................................... 37
Components ..................................................................... 40
Cards ............................................................................. 40
Game Board.................................................................. 41
Player Boards ............................................................... 42
Player Screens .............................................................. 43
Chits .............................................................................. 43
Avatars .......................................................................... 44
Meeples......................................................................... 44
Miniatures .................................................................... 45
Dice ............................................................................... 46
Winks ............................................................................ 47
Cubes ............................................................................ 47
Stickers ......................................................................... 47
The Importance of Playing Popular Games ................. 50
Meeting with Other Game Designers........................... 51
Local Designers............................................................ 51
Unpubs ......................................................................... 53
Conventions ................................................................. 53
Next Step .......................................................................... 54
Chapter 3 The Spreadsheet ................................................ 55
6 | Page
Chapter 4 The Hand-Drawn Prototype ............................ 59
Cards for your Game....................................................... 60
Game Board and Player Mats ........................................ 62
Game Components.......................................................... 63
Chapter 5 Solo Playtesting ................................................. 65
Chapter 6 Rough Prototype................................................ 69
Graphic Design Tools ..................................................... 70
Adobe Photoshop and Illustrator .............................. 70
Paint Shop Pro ............................................................. 71
G.I.M.P.......................................................................... 71
Art (Copyright and Stock Art) ....................................... 72
Flicker and the Creative Commons License ............. 73
Adobe Stock ................................................................. 74
Board Game Icons ....................................................... 76
Graphic Design Basics .................................................... 76
Step 1: Download a Template .................................... 77
Step 2: Create the First Layer, the background ........ 78
Step 3: Create the next layer of images and graphics
....................................................................................... 80
Step 4: Create the next layer, the overlay .................. 81
Step 5: Create the next layer, the icons and text ....... 82
Game Components........................................................... 84
Prototype Printers ........................................................... 86
The Game Crafter ........................................................ 87

7 | Page
 Superior POD .............................................................. 89
Board Games Maker.................................................... 90
Resource ....................................................................... 90
Chapter 7 Rapid Prototyping ............................................ 91
How Does Component Studio Work? .......................... 92
Fonts.................................................................................. 92
Images and Icons ............................................................. 93
Data Sets ........................................................................... 94
Designs ............................................................................. 95
Card Background......................................................... 97
Card Icons..................................................................... 98
Card Values .................................................................. 99
Card Titles and Descriptions ................................... 100
Exporting and Printing Your Cards............................. 101
Export images into the Game Crafter...................... 102
Component Studio Resources ..................................... 103
Chapter 8 Virtual Prototyping ........................................ 105
Table Top Simulator ..................................................... 105
Tabletopia ...................................................................... 106
Additional Pointers ....................................................... 106
Chapter 9 Group Playtesting .......................................... 109
Where to Find Playtesters............................................. 110
Friends and Family.................................................... 110
Local Board Game Store or Lounge......................... 110
8 | Page
 Local Game Nights .................................................... 111
Board Game Conferences ............................................. 111
Stage 1: Play Along ....................................................... 112
Stage 2: Set Up Game then Observe ........................... 114
Stage 3: Blind playtesting ............................................. 115
Thank Your Playtester .................................................. 116
Final Thoughts............................................................... 117
Chapter 10 Your Rules Guide .......................................... 119
Make No Assumptions ................................................. 120
Start with the Theme .................................................... 121
Visual Game Setup ....................................................... 122
The Goal of the Game................................................... 123
Walking Through a Round .......................................... 123
finaEnd-of-Round Rules .............................................. 124
End-of-Game Rules and Scoring ................................. 125
Online Rules .................................................................. 126
Rules Videos .................................................................. 126
Chapter 11 Pitching to Publishers ................................... 129
Scheduling Time at a Convention............................... 131
Publisher Speed Dating ............................................... 132
Game Competitions ...................................................... 134
Unpubs ............................................................................ 134
Game Publisher Submissions ..................................... 135
Facebook Groups........................................................... 135
9 | Page
 Final Words of Advice .................................................. 136
Chapter 12 Final Prototype .............................................. 139
Chapter 13 Self-Publishing Basics .................................. 141
Kickstarter Basics ........................................................... 141
Basics ........................................................................... 142
Rewards ...................................................................... 144
Story ............................................................................ 146
Kickstarter Video .......................................................... 147
Low Budget Cell Phone Video................................. 148
Mid-range DSLR Cameras ....................................... 148
High-End Cameras .................................................... 149
Filming and Editing .................................................. 149
What to film?.............................................................. 150
Production Companies ............................................. 150
Kickstarter Launch ........................................................ 151
Successfully Funded! Now What?............................... 153
Life Outside of Kickstarter .......................................... 153
Mass Manufacturing Options...................................... 155
Shipping Basics ............................................................. 156
Drop-Shipping ........................................................... 157
Self-Shipping ............................................................. 157
Fulfillment Centers ................................................... 158
Final Notes ......................................................................... 159

10 | Page
Additional Reference Material
Be sure to visit www.GearLockGames.com to find

supplemental material for each chapter of this book. This

online resource will provide additional content, examples,

images, and illustrations to expand on the general and core

information the book provides.

For example, Chapter 6 covers the graphic design

process for your prototype. The chapter walks through

several steps to create a playing card in a game. The

images used in this example and links to the graphic

design software can be found on the supporting website.

11 | Page
12 | Page
Chapter 1
Introduction
If you were to search Amazon or Google, you would

find that there are only a couple of books on board game

design. Most books focus on game theory and game

mechanisms.

This book is different.

This book was written to give you a step-by-step

guide that covers how to create your own modern board

game. It covers everything — from the initial board game

design, all the way to having your game prototype

professional printed. It also addresses some of the most

common questions that new board game designers have

about finding a publisher, manufacturing the game, and

running a Kickstarter campaign.

As the author of this book, I had hoped there was a

similar guide that I could use when I first became

interested in designing board games. I found that I had to

scour the Internet to find all of the information, and it was

both time intensive and tedious. Lots of individuals shared

13 | Page
stories about their individual and unique challenges, but I

wanted a quick guide through the main parts of the game

design and publishing process. It took me quite a while

before I made it through the whole cycle of creating a

board game. Here’s a quick story about my introduction

into modern board gaming and a brief history of my first

game.

My Story

My story on how I got into board gaming differs

from some of the most common stories I hear. I did not get

started with Settlers of Catan when it first spiked in

popularity in the US. I was first introduced to modern

board games when I was invited to attend a small church

group meeting that advertised they would be playing

board games.
Growing up, I had played a lot of the classic board

games like Monopoly, Risk, and Scrabble. In high school I

had also played Magic, Netrunner, and Warhammer with my

friends who had bought all the stuff but didn’t have

14 | Page
anyone to play with. I even dabbled in live action

roleplaying in college with the Vampire Masquerade game.

So I had a good foundation of gaming before I went to that

church game night.

The first game that came out that evening was Love

Letter. What a great little micro game to get me re-

introduced into modern board gaming. Then came Ricochet

Robots, a vastly different game than Love Letter.

Finally came Lords of Waterdeep. I was instantly

hooked by the unique rules, the beautiful game board, and

all of the character cubes. Soon after, I started attending a

bi-weekly game night with Dennis, the guy who hosted

the church group game night. I now affectionately call him

Dennis the Game Master.

After playing a couple of modern board games, it

wasn’t long before I became inspired to create my own.

My background was in web development and filmmaking,

so I felt like I had a good grasp on what it would take to

get started with the creative process of developing my first

game.

15 | Page
 Of course, I was wrong. Developing a game

involves a lot of complex, moving pieces that one can’t

really know until they experience it from beginning to end.

My First Game Design

The first game I ever developed was called

Gardenscape. It was a tile-based game where players tried

to seed, water and harvest tiles to gain points.

It was a terrible game. But I was able to design,

print, and Kickstart the game by downloading a couple of

programs and doing a lot of research on the Internet.

My next game, En Passant, was successfully funded

on Kickstarter, and I printed and shipped it to hundreds of

backers. Since then, I have created several other games,

both on Kickstarter and with publishers.

This book will walk you through everything I learned

along the way. Hopefully it will save you time and

headaches and really provide you with a shortcut to your

first successful board game.

16 | Page
Chapter 2
Your Game Idea
All board games start with an idea. Since you’re

reading this book, there is a good chance that you already

have an idea for a board game. The most logical place to

start, then, is to work on expanding that idea.

It may seem like a trivial step, but it’s important

that you write down the idea. Before we get started, the

first thing you need to do is grab a pencil and a sheet of

blank paper or a journal. This is crucial, because you will

see that as you go through this journey, you are going to

be adding, erasing, and changing your game significantly

along the way.

Journaling

Journaling, whether on paper or with an online

journaling tool, is an important part of this process. Your

journal can be a simple piece of scrap paper, a formal

journal, or a spreadsheet on your computer. The next few

17 | Page
sections of this book touch on several related topics. You’ll

also find questions posed to you along the way. It is

important to take notes as you read and answer the

questions to help you better flesh out your game idea.

You are strongly encouraged to use your journal to

keep track of your game idea as it evolves through all the

stages of design and development. There are many reasons

for this, but most notably, it will:

● Help you keep track of the changes.

● Provide a road map for future game development.

● Help you, if you should ever need to provide your

notes to a publisher.

Be sure to keep your journal — or an electronic device

— close to your bed at night. That way, if an idea comes to

you in your sleep, you can quickly capture it before it

fades away. And keep your game journal with you at work

and in the car. You never know where an idea will appear

or an inspiring moment may pop up.

18 | Page
Common Board Game Trends

The number one thing new board game creators

should know is: Do not create a roll-and-move game.

Monopoly is the number one, roll-and-move game out

there. The roll-and-move game mechanism (a construct of

rules that affect and interact with the game state) is where

you roll dice, move your pawn, and then complete an

action. A lot of new designers start with this game

mechanism, because it may be the only one they know.

Other classic games use this mechanism as well, including

Sorry, Trouble, and Life. The roll-and-move mechanism has

been around for so long that it is now one of the least

desirable game mechanisms you can put in a modern

game.

Of course, there are exceptions if you can put a

unique twist on it. But honestly, if you try to pitch a roll-

and-move game to a modern game publisher, you might

just see them roll their eyes at you (pun intended).

Another bit of advice for new game designers is to

not start with a highly complex game. You may be a heavy

19 | Page
board gamer, such as a person who plays 18XX, Twilight

Imperium, or Terra Mystica. While you may love these

games and have your own great ideas on how to improve

them, these games are extremely complex to design.

They’re also very expensive to produce and can be a hard

sell to a publisher.

You can always work your way up to designing a

complex game, but the recommendation is to start with a

simple game. Doing that enables you to learn the basics

without getting stuck in the complexities of game balance

and custom components.

Another important trend that you should be aware

of is the popular mechanisms found in modern board

games. The next section of this book will introduce you to

some of those mechanisms. Learning about game

mechanisms is important because they are an important

building block to creating your first game.

20 | Page
Common Game Mechanisms

The best way you can develop a basic understanding

of modern board games is to play as many popular

modern games as you can. Modern here refers to anything

after the Settlers of Catan (1995) boom in the US. It’s

amazing how many people have an idea for a game, and

then learn the game already exists. That’s because there are

so many board games that have already been published.

As a reference, more than 500 board games were released

last month, at the time of this writing. It’s not to say you

can’t design and publish a similar game, but it is helpful to

learn what is already out there. This will save you a ton of

time typically spent making rookie mistakes, like using a

game mechanism that feels antiquated or out-of-date like

the roll-and-move mechanism mentioned earlier.

Here are some examples and brief explanations of

some of the current popular game mechanisms.

21 | Page
Deck Building

Deck building is one of the newer game

mechanisms. Many people attribute the game Dominion to

launching this mechanism. Deck building traditionally

means that each player starts with a set of cards. Players

then draw from their individual decks to create a hand of

cards. They play those cards, discarding them into an

individual discard pile. As the game progresses, each

player adds more and more cards to their personal deck.

They continue to draw cards into their hand from their

personal deck and use those cards to acquire more cards

for their deck.

This mechanism is popular because it gives players

the same excitement of building a deck from scratch like

you would in Magic: The Gathering, but instead of building

the deck outside of the game, each player builds their deck
as they play. This makes these types of games it much

more accessible and lowers their learning curve.

Accessible, in this context, means that it is easy for new

players or non-gamers to learn and get into the game.

22 | Page
 Some popular examples of board games with deck

building include Harry Potter: Hogwarts Battle, Marvel

Legendary, Trains, Super Motherload, Clank!, and Star Realms.

Set Collection

Set collection is a game mechanism you see in many

popular games. This classic game mechanism has evolved

with modern board games. With set collection, you are

trying to collect matching cards or objects that you can use

for actions or points in the game.

The most popular example of set collection is Ticket to

Ride. Ticket to Ride is one of the most successful modern

games across the world right now. In this train route

building game, you draw colored cards from a shared

deck. As you collect sets of colored cards, you can turn

them in to build your train route. This basic mechanism is

very effective in making the game a smash success.

Some other games where you would find set

collection are Settlers of Catan, Jaipur, Sushi Go!, Lords of

Waterdeep, Bohnanza, and Sheriff of Nottingham.

23 | Page
Worker Placement

This game mechanism appears in popular games

like Raiders of the North Sea, Stone Age, Tyrants of the

Underdark, and Lorenzo el Magnifico. Players usually have

worker pawns that they place on different action spaces on

the game board. In some games, when a player uses an

action space with their worker, it prevents other players

from using the same action.

As more games continue to come out, this mechanism

continues to evolve. You will find plenty of new and

interesting variations on worker placement games. Mint

Works is a great example, as it is a worker placement micro-

card game. Another example is a game like Harbour that

only gives players one worker to use in the game. There

are other games that allow you to place a worker, but only

if you place more workers than the previous player like in

Energy Empire.

24 | Page
Social Deduction

The social deduction game mechanism appears in

some of the top-selling party games. Games like Werewolf,

Coup and The Resistance are just a few examples. The social

deduction mechanism usually involves players having

hidden information. In many cases, players need to be able

to uncover that information from other players to succeed

in the game. Usually through social interaction like

talking, reading body language or looking for tells.

Other examples include Hail Hydra, The Insider, and

Werewords.

Area Control

Area control is a classic game mechanism that

continues to evolve. The classic game of Risk, where

players fight for control of different regions of the game

board, is a good example of this mechanism. Some

modern, popular games that use this are Blood Rage and

Concordia. Like all game mechanisms, area control can turn

some players off from buying or playing a game. This is

25 | Page
because area control can sometimes leave players feeling

like they are being ganged up on by other players. Other

players may not like the direct combat or conflict that can
be present in these games as well.

On the flip side, some players absolutely love this

mechanism and seek it out because they like the back and

forth battling that can occur with it.

Take That

Some board games allow players to take actions

and play without a lot of involvement from other players.

That is not the case with the take that mechanism. Take that

usually involves playing actions that negatively impact

other players. A classic example is Uno, when you play the

Draw 4 card. If you do use this game mechanism, be sure

to balance the use of it with the tone and theme of your

game. Too much of this mechanism can turn players off,

especially if the take that makes them lose a turn or not be

able to perform an action on their own.

26 | Page
Auction/Bidding

This game mechanism can be found in a lot of

classic and modern games. With auctions and bidding,

players use their money or resources to compete with

other players to acquire items or cards in the game. An

example of this is the power plant auction in the game

Power Grid. Players take turns bidding on a power plant

using the money they have acquired in the game. Another

example of bidding in a modern board game can be found

in For Sale. In this game, players bid on properties, with the

highest bidder gaining the most desirable property. Other

bidders get the other properties they bid on at half the cost.

Game designers continue to find fun and fascinating ways

to evolve the auction and bidding mechanism.

Roll-and-Write

Yahtzee is the classic game that comes to mind with

roll-and-write. With roll-and-write, players usually roll one

or more dice and then write down the result on a score

pad. A couple modern board games that use this

27 | Page
mechanism are Harvest Dice, Qwixx, and Castles of

Burgundy the Dice Game. This mechanism can really help

streamline and simplify a game to make it accessible to a

broader audience. As this mechanism continues to mature

and grow in popularity, it has a lot of room for continued

innovation.

Co-Operative Play

One of the top-selling co-operative games is

Pandemic. In a co-operative game, all of the players work

together to beat the game itself. In Pandemic, players are

scientists fighting against the growing virus on the board.

The virus spreads after each player’s turn, ensuring that

the players must work together to beat the game. This is a

great game mechanism but may require some deep

planning in the design phase. Not only are you creating

the rules for the players, but you are also designing the

artificial intelligence built into the game the players are

trying to beat.

28 | Page
Dice Rolling

Several modern board games have made dice their

core mechanism. One thing to remember is that using dice

in a roll-and-move fashion is a mechanism that may feel

antiquated and outdated. Modern dice rolling board

games use the dice in more innovative ways.

King of Tokyo is a good example. In the game,

players roll a handful of custom dice that have unique

symbols on them. Players can keep the heart symbol die to

heal their monster or keep the claw symbol dice to hurt

other players’ monsters. Or they can try to collect sets of

numbers to get points in the game. The last player

standing or the first player to 20 points wins the game.

One thing to remember about using custom dice in

your game is that they can be pricey.

29 | Page
Book Recommendation: Building Blocks of Tabletop

Game Design

A book was recently released that provides a more

thorough dive into game mechanisms. The book begins to

categorize these game mechanisms into a more formal

structure.
The website www.BoardGameGeek.com has also

begun to incorporate these formal classifications of board

game mechanisms. Both are great resources to learn more

about each mechanism and to find popular modern games

that use them.

As you learned previously, one of the single most

important steps you can take early in your board game

design is to find out which games have already been

developed that may share similarities with the game you

are designing. It’s important to remember that there are

more than 10,000 board games that have been released,

and you want to make sure your idea has not already been

made into a board game by someone else.

30 | Page
 Journal Assignment

In your journal, answer the following questions about your

game idea.

- What are my favorite game mechanisms?

- What game mechanisms do I see my friends enjoying

the most?

- What game mechanisms are the best fit for my game?

31 | Page
Game Mechanism Resources

Here is a quick summary of this chapter and some

resources you can use to learn more about game

mechanisms and how they fit into your game:

● Tip number one is to go out and play as many

games as you can to learn about all these different

game mechanisms.

● Tip number two is to use these resources on the

Internet to learn more about each one:

Board Game Geek

https://boardgamegeek.com/browse/boardgamemechanism

Wikipedia

https://en.wikipedia.org/wiki/Game_mechanisms

Book
Building Blocks of Tabletop Game Design

32 | Page
Theme

The theme is the overall feeling, subject matter, or

world you build around your game. For example, the

theme of your game might be zombies, or a historical

period like the French Revolution. Another theme you

might utilize is a location, like the Galapagos Islands, or

you may use a scientific theory like Thermal Dynamics.

Themes can even be abstract, like checkers.

No matter what your theme is, the most important

thing, starting out, is to eventually pick one. Themes can

be an important element in your game design. You can use

the theme to build a story arc across your game to help

people understand the world they’re about to step into.

This also helps bring a sense of cohesiveness to your

game’s story, characters, game mechanisms, rules, and

winning conditions.

You don’t have to use a real theme - you can create

your own, original theme. Terra Mystica is a great example

of a unique world and theme built to support the

mechanisms of the game. And really, that’s where theme

33 | Page
can greatly help your game. If you’re able to integrate your

theme and game mechanisms, you can really create an

engaging experience for your players.

A good example of a game whose theme integrates

with its mechanisms is Fresco. At its core, Fresco is a worker

placement and set collection game. But the theme elevates

it to the next level. In Fresco, each player is an artist who

has been commissioned to paint the ceiling of a cathedral.

You use your workers – in this game they’re called

apprentices – to go out and buy paint, mix paint, and use

the paint to complete a tile on the ceiling. Having a theme

integrated with the game mechanisms makes teaching the

game considerably easier, as it immerses the players into

the world of the game.

You may hear the expression that a “theme has

been pasted onto the game.” This expression is used by

players who feel that a theme was just loosely placed onto

the game mechanisms. There is nothing wrong with this

approach, and it can help elevate an abstract game. But

integrating an engaging theme may help separate your

34 | Page
game from the rest of the busy field of games that are

coming out.

One of the most common questions that new

designers ask other designers and publishers is “Which

theme sells?” or “What kind of themes are you looking

for?” There is no one answer to this question. It is

important that you understand the popular themes that

have high historic sales, themes that generate a lot of buzz

on Kickstarter and certain themes that publishers are

gravitating towards. This year themes like futuristic

zombies or birds may be all the rage, and the next year it

may be trading on the Mediterranean or historical events.

Design a game with a theme you enjoy or a theme you

know about. Or choose a theme that you feel with connect

with your intended audience. And if you can, tie the

theme as strongly into the game mechanisms as you can.

This helps make the game come to life, create a memorable

experience for your players, and make it easier to learn

and remember how to play your game.

35 | Page
 Journal Assignment

In your journal, answer the following questions about your

game idea.

- What are my favorite themes in board games?

- What are my friends’ favorite themes in games they

always want to play?

- What is a great theme for my board game idea?

36 | Page
Player’s Experience

While considering your game idea, it is important

to think about your players’ actual experience while

playing. It may not seem like it at first, but there are

several different experiences that a game can invoke.

For example, some games involve multiple players,

but may play like a solo experience. Castles of Burgundy is

an example of a game where you’re able to play the game

within your own game board without a lot of interaction

from other players. On the opposite end of the spectrum,

other games have extremely high levels of player

interaction.

Another aspect of player experience that you

should consider when fleshing out your game idea is quiet

vs. rowdy. There are several games where players are very

quiet as they play, usually because the game is competitive

and has a high level of decision-making for each move.

Heavy Euro-style games may fall into this category.

On the flip side, party games are usually extremely

loud and boisterous. Some examples of popular party

37 | Page
games are Codenames, One Night Ultimate Werewolf, and

Monikers. These are games that are difficult to play in

libraries, game shops, and conventions because the loud

players can bother other patrons.

Try to determine the player experience you are trying

to promote. This can help you refine your idea and will

eventually make it easier for you to market or pitch your

game when the time comes to decide your method of game

publication.

38 | Page
 Journal Assignment

In your journal, answer the following questions about your

game idea.

- What is your most memorable experience playing board

games?

- What are some of your friends’ most memorable

experiences playing board games?

- What experience are you hoping to evoke from your

players?

39 | Page
Components

When building on your game idea, it is important

to consider the components that will be a part of the game.

Game components are the physical pieces of the game.

Here is a brief summary of some of the most common

components found in board games:

Cards

Most board games include cards. They are

inexpensive to manufacture, can convey game information

on them and can be very versatile as an element in the

game. Cards may be the primary component in a game

like Sushi Go!, No Thanks, and Hanabi.

One game mechanism you might see with cards

that hasn’t been described yet is drafting. Drafting is when a

player chooses a card from a common set of cards or

chooses a card from their hand of cards and then passes

the rest of the cards to the next player.

Cards come in several common shapes: poker-size

cards (the most common), tarot-sized cards (which are

40 | Page
large cards), mini-sized cards (like in Ticket to Ride), and

square cards.

Recently, games have begun to incorporate

transparent cards as well. Games like Gloom, Mystic Vale,

and Custom Heroes started using these cards because they

allow a player to layer multiple cards together to form a

single card.

Game Board

Many traditional and classic games have game

boards. It is a very common game component. Game

boards are useful because they create a shared space

amongst all players, where much of the game’s action

takes place.

Some unique twists on game boards that have

begun rising in popularity are modular and mat game

boards.

Modular game boards are boards that can be

constructed from several interchangeable pieces. This

makes the game board layout unique for each play. Clank!

In! Space! and Kingdom Builder are recent examples of this.

41 | Page
 Mat game boards are also growing in popularity. They

sometimes feel like a large mouse pad that has a custom

graphic applied to the top of it to represent the game

board. Games like Splendor, Elysium, and Legendary games

have options for mat game boards. A couple of deterrents

to these types of game boards is they can be pricey and can

be difficult to fit in the game box due to their size when

rolled up.

Player Boards

Player boards are similar to game boards, except

each player receives their own smaller player board. Some

examples include Castles of Burgundy and Terraforming

Mars.

These personal play boards are becoming more and

more popular because they help maintain the player’s

game state and usually provide some guidance as an

instructional game aid.

42 | Page
Player Screens

Another popular game component appearing in

modern board games are player screens. These are small

cardboard cutouts that stand up and shield a small area in

front of each player so that other players cannot see what

is going on behind it. Some games use these screens to

hide a player’s money or resources from being seen by

other players.

A couple of examples include the games Isle of Skye

and Diamonds.

Chits

Chits are small cardboard tokens that can be used

to represent money or resources in a game. They can come

in several shapes and sizes. An example would be small

circles with numbers printed on them to be used as coins

in a game.

Another example of these cardboard tokens’ use is

to denote experience points, wound markers or player

43 | Page
conditions such as befuddled or stunned, like in the game

Gloomhaven.

Avatars

Probably more commonly known as pawns, these

are usually colored markers each player uses to represent

themselves on the game board. In Monopoly, your avatar

was a dog, car, iron, or ship. In the classic game Life, it was

a car with pegs in it that represented your family.

For some modern board games, an avatar can be a

cardboard standee that fits in a small plastic base with a

picture of your character on it, like in the game Dead of

Winter.

Many choices for different shapes and options for

avatars exist.

Meeples

One of the popular options for avatars in games are

meeples. Meeples are little wooden people, usually

represented in different colors used by each player.

44 | Page
Carcassonne is one of the most popular and original games

that uses meeples as a game component.

Several games that use meeples have also begun

personalizing the meeples with custom stickers. Meeple

stickers match the size and shape of the wooden avatars to

give the meeples more personality.

A new innovation in meeples is the “item meeple.”

This meeple has holes on its head and hands to allow

various plastic pieces to be attached to the meeple, like

helmets, swords, and shields.

Miniatures

Another popular option for avatars is miniatures.

These are resin, pewter or plastic three-dimensional,

detailed figures. Previously, many miniatures were cast in

pewter, but the invention of the 3-D printer and evolutions

in plastic materials now allows for very detailed figures. A

couple of popular games that use them are Blood Rage and

Kingdom Death Monster. Minis add a lot of personality and

depth to a game and give it that classic tabletop Dungeons

45 | Page
& Dragons or Warhammer experience in a board game

format.

Minis are becoming extremely popular in games

and when used can really raise the cost of the game for the

designer and customer. As the modeling and creation of

minis continues to become cheaper, more and more games

will use them.

Dice

Dice are one of the most common game

components, found in both classic and modern board

games.

In modern board games, customized dice continue

to grow in popularity. These are dice that have the

traditional pips removed and replaced with custom

symbols. A great example of custom dice is the game King

of Tokyo. The dice in the game have the numbers 1, 2 and 3

on the dice, along with a symbol of a claw (for attack), a

heart (for healing), and energy (used like money to buy

power-up cards). Although popular, custom dice can be

very expensive.

46 | Page
Winks

Winks are small, flat, circular plastic discs. They are

usually used as currency or to track something in a game.

The new game Felicity: Cat in the Sack uses winks for the

money in the game.

Cubes

You will find a lot of modern games use wooden or

plastic colored cubes. Many Euro-style games use these to

track resources. Some of the wooden cubes may be cut into

custom shapes to represent resources like wheat, wood,

steel, and clay. Examples of games employing these

components include Agricola, Concordia, and Lords of

Waterdeep.

Stickers

A new type of modern board game is a Legacy

game. Games like Pandemic Legacy, SeaFall, and

Charterstone are legacy games where you permanently

47 | Page
change the game as you go by destroying cards and

placing stickers on the game board.

This is a very novel way to create a unique game

experience for your players. A word of caution, though:

when using stickers to permanently alter the board or

cards in your game, a lot of thought and testing needs to

be in place to make sure it works like you expect. If players

place stickers in the wrong place or at the wrong time, it

can make for a terrible playing experience.

48 | Page
 Journal Assignment

In your journal, answer the following questions about your

game idea.

- Think about your favorite game. What physical game

components are in that game?

- Think about the games your friends enjoy. What game

components are found in those games?

- Think of your game idea. What game components do

you think will work best for your game?

49 | Page
The Importance of Playing Popular Games

Hopefully this chapter provided some food for

thought when it comes to building up your game idea.

This chapter referenced several examples.

One of the best ways to try out these board games

is to connect with your board game groups or your local

board game stores.

Most board game groups have scheduled events

where you can show up and try out new board games.

Their schedules can usually be found on MeetUp.com or

Facebook Groups. Nearly all of these groups are easy to

connect with and have several individuals that will help

you get integrated into the group and introduce you to

several new games.

On the flip side, many medium and large cities have

local game stores that include a game library that you can

usually use for a small daily fee (like $5). You can check

out games from their library and expose yourself to a lot of

popular games. You may also be able to find modern

games in your local library as well.

50 | Page
Meeting with Other Game Designers

You may be surprised how easy it is to meet with

other game designers. Here are three ways you can

network and meet game designers to learn the lessons

from those who have been through the whole experience.

Local Designers

Even in smaller cities and towns, there are usually

at least a couple of great game designers. I had the

opportunity to meet Don Eskridge, the designer of The

Resistance. He is originally from Edmond, Oklahoma, and

stopped by a public board game group while he was in

town. I had the chance to ask him some general questions

about how he got started and about the evolution of the

popularity of The Resistance. I also got to see him run a

playtest of his new game, Abandon Planet. I learned a lot

from this simple interaction with one of the biggest names

in board game design.

I also Googled “board game designers in

Oklahoma City” and found Shane Willis’ name. Shane

51 | Page
created the amazing game Garbage Day. It’s a card

dexterity game where players have to balance trash cards

on top of a physical plastic trash can. He met me for lunch

and answered all of the random questions I had prepared

for him. I will never forget when I asked him about the

differences in card quality and he literally ripped one of

the game cards from his prototype in half to show me the

guts of the card.

I also had the opportunity to meet the guys from

Pround Games who made Chicken Run. They are local

game designers in the Oklahoma City area. I met them at a

local board game store where they were demoing their

game. They were a wealth of information and a great

example of how a team approach works to game design. In

their team, each member had specific strengths that they

brought to the process, such as graphic design, marketing

and game innovation.

It’s amazing how accessible and open some game

designers are to share everything they know. Take the

opportunity to seek out and find these local designers and

52 | Page
learn as much as you can from them. In some cases, you

might even partner with them.

Unpubs

There are several regional unpub events where

unpublished games are playtested. These events are a

great opportunity to meet with both aspiring and

respected game designers. It’s also a great opportunity to

learn more about the playtesting experience, which you

will be doing further along in your game development.

Conventions

Another great place to meet designers is at board

game conventions. One thing to keep in mind is that there

are some smaller conventions where game designers may

be more accessible than they are at larger conventions. For

example, it may be very difficult to talk to successful game

designers at GenCon. This is because they are using the

opportunities at large conferences to network with the big

game publishers.

53 | Page
 But at conferences like BGG Con, I found it

surprisingly easy to get a couple of questions in with epic

Eric Lang, who could be found wandering all over the

convention. I also had the chance to meet Sean and Alan,

the designers of Two Rooms and a Boom from Tuesday

Knight Games.

The moral of the story is that if you go to where

game designers are, there is a good chance you can talk to

one of them. In my experience, most game designers I’ve

met are extremely friendly and willing to share their

stories and advice.

Next Step

Now that you’ve journaled and expanded on your

game idea, it’s time to move to the next step: the

spreadsheet. Remember that game design is an iterative

process and that you may need to come back to your game

idea and journal several times to change your game design

or, in some cases, to start over completely.

54 | Page
Chapter 3
The Spreadsheet
Journaling is a great way to capture the ideas for

your game, but you may also need to expand into using a

spreadsheet. Spreadsheets are a great tool to help you list

all of the possible cards and actions in your game. This will
help you gain a better understanding of the details and

dynamics of your game.

There are two primary spreadsheet tools: Microsoft

Excel and Google Sheets.

Microsoft Excel has been an industry standard for

spreadsheets for years. The downside of Excel, however, is

that it is not free.

Google Sheets is a popular, online spreadsheet tool

that is free. A great benefit that comes with Google Sheets

is that you can share it and work with others at the same

time on the spreadsheet. This makes collaborating with co-

designers very convenient. If you are used to using Excel,

getting used to Google Sheets may take a little bit of

55 | Page
practice and time to get used to the differences between

the two programs.

Once you have decided which spreadsheet tool

you’re going to use, the next step is to set up your

spreadsheet. One way you can organize your spreadsheet

is to create separate tabs for different parts of your game.

For example, you can have a tab for character cards,

building cards, item cards, actions, resources, etc. On each

tab, use the rows to identify each unique item and use the

columns to describe the attributes of the item.

Here is an example:

56 | Page
 En Passant - The Card Game

Card Name Number Card Action

of Cards
in Deck
The Rook 3 Discard this card. Take a random
card from a player.
The Knight 3 Discard this card. All players take
one card from the player on their
left.
The Bishop 3 Discard this card. All players pass
all of their cards to the left or
right, your choice.
The Pawn 4 Discard this card. Nothing else
happens.
The Queen 1 Discard this card. Trade all of
your cards with another player of
your choice.
The 1 Discard this card. Look at another
Princess player's cards. Take one of your
choice.
The King 1 Cannot discard. You win if you
have this card when the game
ends.
Total Cards 16

57 | Page
This is a very simple Excel spreadsheet. The more complex

your game is, the more tabs, rows, and columns you will

have.
This is a vital step when you begin to playtest your

game. You will want to make changes to the interaction

and balance of the elements in your game, and your

spreadsheet will help you achieve that balance.

When you make significant changes to your

spreadsheet, it is a best practice to save a new copy of the

spreadsheet. You can use version numbers or dates to help

keep your multiple spreadsheets organized. This is

important because you may find that you made a terrible

change, and you may want to revert back to an older

spreadsheet. This is very easy to do if you keep your

spreadsheets organized.

58 | Page
Chapter 4
The Hand-Drawn Prototype

At this point in the book, you should have recorded

your game ideas in your journal or spreadsheet. Your

notes should include some basic ideas around your game’s

theme, mechanisms, and the experience you hope to elicit

from your players. It is normal if you’re still trying to

figure out some of these elements. While we walk through

the exercise of creating a hand-drawn prototype of your

game, you will naturally refine and expand your idea

along the way.

Creating your initial prototype involves a few

simple steps. Here is a breakdown of each of those steps.

59 | Page
Cards for your Game

A lot of modern board games involve cards. If you

are looking to start with a simple game idea, it is

recommended to try creating a micro card game. A micro

card game is a game that only consists of 18 cards and a

rule sheet.

When creating your initial prototype, it is strongly

recommended that you start with blank pieces of paper

and a marker. It is not recommended to create detailed

cards on your computer that you send to a professional

printer. The reason will hopefully become obvious as you

begin creating and playing your initial prototype.

When you first take the idea of the game out of

your head and put it onto a tangible object like paper, you

will notice that how the game plays in real life, is not the

same as how it plays in your mind.

There are a couple of quick ways to create your

paper and marker cards. One way is to use scissors or a

paper cutter to cut out rectangle playing cards from card

stock. If uniformity is important to you, you can also buy

60 | Page
business card stock paper that is perforated and easy to

tear into rectangle playing cards.

If you have double-sided cards in your game where

the backs and fronts of the cards are important, you will

most likely want to purchase clear card sleeves. Clear card

sleeves let you mix and match the fronts and backs of

cards more easily than continually trying to create new

fronts and backs for combinations of cards.

This technique can save you several hours of printing

out the fronts and backs of cards on your printer. In one of

my prototypes, I needed card backs to reflect different

regions of a map. The fronts of those cards had different

events and items specific to the region. In my playtesting, I

constantly needed to change the regions for the different

events and items. I would take two pieces of card stock,

write the front of the card on one piece and the back of the

card on the other piece and put them together in the card

sleeve.

61 | Page
Game Board and Player Mats

You can also use paper and a marker to create your

game board and player mats too. This may seem

rudimentary, but until you are able to work out the basic
mechanisms and flow of your game, having this throw-

away game board may save you a lot of frustration of

being locked into a nicely printed game board that is not as

easy to make changes to.

Another great trick is to draw your basic game

board and to use Post-It Notes for the important spots on

the board. This will allow you to add, remove or move

things around on the game board with very little effort.

62 | Page
Game Components

You may need dice, pawns, and other basic game

components for your prototype. A great trick is to go to

your local Salvation Army or Goodwill thrift shop to

scavenge for games. You can usually find classic games for

a couple of bucks that have the game pieces you need for

your prototype. You may also be able to find bundles of

classic board games on Facebook Marketplace you can use

as well to meet your prototype’s component needs.

63 | Page
64 | Page
Chapter 5
Solo Playtesting
So now that you have your hand-drawn prototype

completed, it’s time to test out your game and see how it

plays. An effective way to do that is with solo playtesting.

Solo playtesting is where you, the game designer, pretend

that you are two to four players and play through your

game.

It hasn’t been addressed yet, but at this point you

will need to begin developing the rules for your game. A

game without rules is a just a bunch of cardboard and

plastic. It’s the game rules that bring the game to life and

define the parameters of the world you create within it.

You may have made notes for rules in your journal

as you thought about the theme and game mechanisms. If

so, you have a jump start on solo testing your prototype. If

not, it’s perfectly okay to make it up as you go. Be sure to

dedicate some space in your journal to capture your initial

rules and how they change over time.

65 | Page
 With your hand-written game board, cards, and

borrowed game components, try out your game.

There are two things to watch for while you are

testing.

The first thing to watch for is the flow of the game. Is

it smooth or finicky? Is it clear what to do on your turn or

is it confusing? Does the game stall between rounds

because of all of the round-to-round scoring or setup?

How your games flows is very important to ensuring your

players will have a good gaming experience when you

open it up to play-test with them.

The other important thing to watch for is the

elements that make the game fun. Sometimes, as game

designers, we add a lot of unnecessary elements to the

game. But unless these elements add to the enjoyment of

the player’s experience, you may want to consider

removing them. When considering this, it is important to

understand what type of player you are appealing to. If

you are appealing to a casual gamer who likes light and

fast games, you need to minimize setup and rules. On the

flip side, you may be developing a game that is heavy and

66 | Page
complex. In that case, you want to make sure that your

game’s key elements appeal to that type of player.

Addressing this now will make it a lot easier on

you than trying to make these types of tonal shifts in your

game in the future. This is because the more design and

testing you put into the game, the more you will begin to

find yourself resisting to deconstructing and making major

changes to your game.

It is also important to be as open and flexible as

possible during this phase of development. You may have

created the perfect game in your mind, then find out that

the game doesn’t work in real-life. If it doesn’t work, you

may not want to try to force it to work to fit what was in

your mind. It is amazing what innovation you may need to

implement into your design to create a compromise

between the vision and the reality of the game you are

designing. As game designers, we spend a lot of time

finding unique ways to troubleshoot terrible aspects of our

games to make them better. This is especially true when

we are trying to make the game better for the people who

will be playing it.

67 | Page
 While playtesting your game yourself, another

important thing to try to do is make sure that you take on

different player personalities when you pretend to be each

player playing the game. For example, if you are acting as

four players for your game, try playing the game like a

player who doesn’t have a lot of experience with games.

Have them make suboptimal moves that aren’t necessarily

the best move in the game. Make another player play the

game like they are a hardcore gamer who always tries to

make the most optimal move. Make the third player

someone who is very cutthroat and will do anything to

undermine another player. And make the fourth player

someone who likes helping other players, even if they lose

the game themselves.

As you solo playtest your game, the single most

important thing to remember is to take notes in your

journal. Write down what works, what doesn’t work, what

changes you’ve made, or what you’ve added to the game.

This will be very helpful as you continue to refine and

improve your game through all the phases of creating your

first board game.

68 | Page
Chapter 6
Rough Prototype
At this point in the design process, you’ve tried out

your hand-drawn prototype several times and have a

playable game that you’re ready to try out with others.

You may have a hard time trying out your game

with other people when it is created on torn sheets of

paper with your handwriting on them. Now it’s time to

create a prototype that is a little more appealing and

creates a better experience for your players.

A rough prototype is a prototype that is not a

finished product but still conveys a theme and

mechanisms of your game that are clear to your players. A

rough prototype will not contain any final art. It will not

be a fully finished, polished product. But it will be

professional enough that you could use it to pitch to a

publisher. More on that later.

The following section will walk you through how

to create a rough version prototype of your game.

69 | Page
Graphic Design Tools

Your rough prototype is going to contain some

generic art and computer generated graphics, text, and

numbers. To do this, you are going to need a graphic

design program. Here are some options, from most

expensive and complex, to cheap and simple.

Adobe Photoshop and Illustrator

Adobe Photoshop is a premier graphic design tool.

It is used by professional photographers and graphic

artists for commercial and professional projects. You can

access Adobe Photoshop for $10/month or the entire

Adobe suite of products for $60/month (or cheaper if you

are a student).

The learning curve on Adobe Photoshop and other

Adobe products is high. There are many helpful YouTube

and tutorial videos available to help you get started. If you

do not have a lot of experience in graphic design, this is

probably not the right tool for you.

70 | Page
Paint Shop Pro

There are several moderately priced graphic design

tools on the market. I personally use Paint Shop Pro to

design my cards, tiles and boxes. It costs about $64 for a

full license. It has a relatively low learning curve and is

pretty easy to use with the card, tile and box templates you

get from other web sites.

One challenge with this software is that there are

not a lot of online resources or tutorials to help you get

started. If you are interested in trying it out to see if this is

the right tool for you, a free trial version of the software is

available at PaintShopPro.com.

G.I.M.P

GIMP is short for GNU Image Manipulation

Program. It is a free tool that is easy to learn but doesn’t

have the advanced features that Adobe and Paint Shop Pro

provide. There are a lot of great online resources on how to

use the tool. This is a great place to start since it is free.

71 | Page
Art (Copyright and Stock Art)

Now that you have the software to make the

designs for your cards, tiles, game boards, and boxes, you
are going to need some art to go with it. Based on all of the

suggestions from the industry experts, it is highly

discouraged for you to pay for art at this stage in the

process.

Hiring an artist to create the art for your box,

board, and cards can be extremely time-intensive and

costly. This is a step you may have to do later in the

process if you are going to self-publish your game. But if

you are going to try to pitch and sell your game idea to a

publisher, there’s no need to hire an artist. Most publishers

will scrap your art and use their artists to develop the

game.
With all of that being said, it is still important for

your rough prototype to have art on it though. Art helps

elevate your game design to the next level and

communicates the theme and feeling you want your

players to experience when they are playing.

72 | Page
 For that reason, the recommended step at this stage

in the process is to use copyrighted or stock art.

Copyrighted art means that you do not have permission to

use the art. This is a temporary solution to give your game

a professional feel but understand that this is only for your

rough prototype and should not be distributed or sold to

other individuals. That is because you do not have

permission to use the art.

A better alternative is to use stock art. Stock art is

generic art that is affordable and that you have permission

to use. A lot of stock art websites give you full license to

use the art, even for commercial purposes. This means that

if you find really good stock art, you can use it for the final

version of your game and sell copies of your game using

that art. Here are a few ways to find stock art.

Flicker and the Creative Commons License

Flicker is a website of art that individuals have put

online. In the Flicker advanced search, you can select the

copyright type on the images. Look for an option for

Creative Commons License. This is a license that may

73 | Page
grant you permission to use that person’s art and photos

for free. This method is very hit-and-miss as the quality

and selection of art and photos is very limited. But it’s free.
There are websites other than Flicker that can

search for Creative Common License art. Just do a search

on Google to get started.

Adobe Stock

Adobe Stock is one of the many mainstream stock

art photo websites available. ShutterStock, iStock and

Getty are some of the others.

Each of these websites allow you to search for art

or photos and then pay a fee for permission to use the

image. A great tip that you may not know about are icons.

You can do a search for a specific set of icons, then pay for

one image that may contain hundreds of icons on it.

For example, if you have a game where the theme

involves energy, try out a search for the term “energy

icons” on Adobe Stock’s website. One of the first results

returned is a single image that contains 200 energy-related

icons. These are professional, high-quality icons that you

74 | Page
have the right to use in your game, even if you’re going to

sell copies of it.

This tip is not just restricted to icons. There are several

images on Adobe Stock that contain more than one picture.

For example, if you do a search on the term “knights”, one

of the results is a collection of seven different cartoon

knights that look very professional. Seven images for the

price of one are a great deal.

The cost for that one image is $3. That comes out to

$0.43 per image.

If you use an artist to create custom art for you, it

could be anywhere from $25-$125 per character.

The key is to remember that if you plan to get your

game developed by a publisher, a lot of the art used in

your game may be discarded and thrown away. If that is

the case, don’t spend a lot of money on the art at this stage

if you can avoid it.

If you do plan to self-publish the game yourself, there

may be some appropriate art you can get using this

method as opposed to hiring an artist to do the art for you.

75 | Page
Board Game Icons

The website www.game-icons.net is a great

resource for free board game icons. Icons are a vital part of

a board game’s anatomy. Icons help reduce the amount of

text on a card and help make a game language

independent. It also provides vital visual cues and

reminders for the players. The better the iconography of a

game, the quicker the game is to learn, and the fewer

mistakes players will make while they are playing your

game.

The game-icons.net website provides thousands of

free images. It also has image tags, making it easy to find

specific icons for different needs, themes, or genres. For

example, you can search for the tag “animal” and

hundreds of different and unique animal icons appear.

Graphic Design Basics

Now you have your graphic design software and

some images and icons. The next step is to put them

together to create your cards, tiles, and game board.

76 | Page
Step 1: Download a Template

One of the best tips to getting started is to make

sure you use a template provided by some of the prototype

and print-on-demand board game websites that are

available. I recommend using TheGameCrafter.com to

print your rough prototype, but there are several options I

will lay out in the next section. If you visit

TheGameCrafter.com, you’ll see a list of different cards,

mats, and board dimensions. Find the best match for your

game, and then click on it to get a template from the site.

The template is available in various common image

formats. Files that end in .PNG tend to be good, generic

templates. Save the file and then open it in your graphic

design program.

Each template gives some important information

about it listed on the template itself. Usually, the template

will display an area where the card will be cut. Cards

generally have rounded corners, so you may notice this on

the template’s pattern. You may also see a region on the

template that shows the boundaries for the text you put on

77 | Page
the card. This is because the card cutting process is sloppy,

and any text or graphics near the edges of the cards could

get cut off.

You may see terms like borders and bleeding. A

border is pretty straight forward in that it usually consists

of a solid color that wraps around the card. Bleeding refers

to cards that do not have borders, where the images or

graphics stretch all the way out to the edges of the card. If

you are going to bleed an image, be sure to use the entire

template and not stop at the safe zone or the outer zone

depicted on the template. If you stop your image at those

areas, it is possible the card could be cut to the left or right

a little bit and a white edge may appear unexpectedly on

the card.

Step 2: Create the First Layer, the background

When you create a card, tile, or board, you usually

start with the background. The background can be a solid

color, a gradient color, or an image that covers the entirety

of the card.

78 | Page
 All of the graphic design software options that

were presented in the previous section contain a feature

called layers. Layers allow you to stack graphics on top of

each other. To begin, open the template image you

received, then find the option to add a new layer.

As you copy and paste an image onto the new layer

or fill it with a solid color, you will notice it will

completely hide the template layer below it. You can

usually adjust the opacity of the top layer. For instance, if

you change the opacity to 75%, you will begin to see the

template layer appear under your background layer. This

can help you make sure you can see the guides and safe

zones that are laid out on the template.

This will help you see where you can safely place

text and icons. This way they won’t risk getting cut off

when the card is cut by the manufacturer.

Once you have the background layer completed,

you are ready to move on to the next layer: images and

graphics.

79 | Page
Step 3: Create the next layer of images and graphics

In your graphic design program, click the option to

add another new layer. Assume your background layer

from the previous step is a solid white background.

At this stage, you may want to add an artistic

image to your card or board. Use the example of a board

game card with an image of a warrior in the middle of the

card. Copy and paste your warrior onto the card. You may

need to resize the warrior image to make it look right on

the card. Some graphic programs let you simply click-and-

drag the edges of the image to resize it. Other programs

have a resize option on the toolbar.

Once you have the warrior at a size you like, be

sure to position it on the card where you want. Now you

have a card with three layers. The bottom layer is the

template with your guides. This layer is completely hidden

by the layer above it that has your background, which in

this case is a solid white background. Your top layer is

your image of a warrior in the middle of the card.

80 | Page
Step 4: Create the next layer, the overlay

Now that you have a card with a white background

and an image of a warrior in the middle, it is time to add

some borders.

You will find a lot of board games with cards that

have a distinct border around them. This isn’t the case in

all games. Some games have large images that cover the

entire card. But it is common to see a card with a black

border on a white background, or vice versa.

For this example, you will put a black border

around the card. To begin, add another new layer. Most

graphic programs have shapes that you can pick from to

accomplish this. For example, you will want to use a

rounded rectangle, which should closely match the

guidelines on the template that show where the card will

be cut to have rounded corners on the edges.

You usually select the properties of the shape, like

the rounded rectangle, on the toolbar. Some of the

properties are the outer and inner colors of the shape and

the thickness of the border line on the shape. For this

example, you want the inside of the rounded rectangle to

81 | Page
be completely transparent. That way the images of the

warrior can be seen. For the outer edge of the rounded

rectangle, you want it to be a thick, black border. You want

this border to be thick so it covers the full edge of the card

and provides a good border around the outskirts of the

card.

If done correctly, you should have a card that has a

thick black border and a white background with an image

of a warrior in the middle of the card.

Step 5: Create the next layer, the icons and text

The last layer on the card will be your icons,

number and text. To begin, add another new layer. This

will be the last layer.

On the new layer, add some text below the image

of the warrior that says “WARRIOR”. You should have

several text options that let you customize things like

color, size, and font. One important thing to note is that

some fonts are copyright protected. You can Google them

to find out if you have permission to use them if you sell

82 | Page
your game commercially. You can use any font for your

prototype if you plan to pitch the game to a publisher. The

publisher usually handles the font choice when they

develop and refine your game. Another important note

about fonts is you want to make sure that your font can be

read easily. This is especially true if players need to see the

card from across the table. Be sure your font contrasts

against the background so it is easy to read and not hidden

in a busy graphic. One trick is to create a solid rounded

rectangle on the layer under the text so that the text is easy

to read.

Now that you have the word “WARRIOR” on your

card below the image of the warrior, you can add an icon

to the top-left of the card. As mentioned earlier, you can

find large collections of icons as a single image. If you do,

use the selection tool in the graphic design program to

only select the icon you want for your card. Then resize it

and copy and paste it to the top-left corner of the card. In

this example, assume you have a sword icon to represent

the warrior’s class.

83 | Page
 On the top-right of the card, you may want to a

number to represent the strength of the warrior. Use the

text tool to add the number “9” to the top-right of the card.
You should now have a complete warrior card after

completing this tutorial.

Game Components

You are probably going to need some game

components for your rough prototype. This may include

dice, pawns, cubes, minis, winks, etc. At this point, it may

be easier to order some game components instead of trying

to piece them together by destroying old, classic games.

Here are a couple of resources where you can buy

some common game components.

Amazon.com

Amazon has a great collection of different game

components. You can order multi-colored plastic cubes

and winks in bulk for a very low price. You can also order

84 | Page
different colors and types of dice as well. It is not a good

website to find custom shaped wooden bits or miniatures.

The Game Crafter

The Game Crafter is one of the best board game

prototyping sites currently available. They have a wide

range of meeples, dice, winks, miniatures, resource tokens,

and standees.

Alibaba

Alibaba is another great source to find bulk game

components. You may also be able to find the most

affordable prices on this site. Keep in mind the shipping

price and the shipping time, as some of the components

will be shipped from China.

85 | Page
Prototype Printers

Once you have completed the graphic design of

your cards, tile and/or boards, it’s time to find a good,

quality printer for them. Here are a couple of

recommendations for the easiest place to get started for

new designers.

One item of note. If you are looking to save costs on your

prototype, you may want to go with a generic box without

any box art. Boxes can be the most expensive component

of a prototype. However, if you plan to pitch the prototype

to a publisher, it may be worth the expense to print a box,

because it may improve the overall aesthetic or convey the

theme of your game to a publisher.

86 | Page
The Game Crafter

One of the easiest print-on-demand game

manufacturers out there for a small run of prototypes is

The Game Crafter. Signing up for an account is free. Once

signed up, you can click the button on the website to create

a new game.

From there, you can scroll through the different

items you can have printed or included for your game.

You can start with the non-print components like dice,

pawns, timers, etc. Simply search by material type and

color to find the piece you are looking for. Then click on

the number of game pieces you need. The site will

automatically add them to your game and begin to give

you a running total on the complete cost.

From there, scroll through the options for board,

boxes, cards, tiles, and chits. Select the one you need and

choose a size. There are usually dimensions and examples

included so you can get a better idea of the size of each

item. You will also find the templates for each of the items

on this page. It is highly recommended that you use the

87 | Page
templates so that when you are ready to upload the

images, they will already be the right size and resolution.

Once you choose an object like a card, you will be

asked to upload an image for the card back. This will save

you a considerable amount of time if all of your cards have

the same back design.

From there, you can upload the image for each

individual card and set the quantity of that card that you

want. For example, if we needed six copies of our Warrior

card we created earlier, we could upload the warrior file

and change the quantity to six. You also have the option

with each card to override the default card back and

include a specific card back for this particular card.

One thing to remember when using cards, tiles,

and chits is to look for how many are included on one

sheet. Most printers charge you by the sheet. For example,

18 standard poker-size cards fit on one sheet. If you can

create your game so that the number of cards is divisible

by 18, it may save you significant costs on your game.

Once you have uploaded the image and set the

quantity, the last step is to proof the card. When you click

88 | Page
the button to proof it, it will show you an image of your

card with the card edges and safety zone highlighted. Be

sure the borders look good on the card edges and that
there are no important icons or text outside of the safe

zone.

Once you have uploaded all of your cards, chits,

and tiles, you can add a copy of the game to your cart and
pay for it. It will be shipped to you a couple of weeks later.

The shipping time may vary, but it gives you an estimated

date, along with how many orders are being printed in

front of yours.

Superior POD

Although not a great option for printing a lot of

copies of your game, Superior POD has some of the most

competitive pricing for small runs of games.

The process is similar to the process laid out for

The Game Crafter.

89 | Page
Drive-Thru Cards

Another great option, especially if your game has a

lot of cards. The process is significantly different, because

you need to put all of your cards on a single image and

save it as a PDF. This can be challenging, but there are a lot

of good tutorials online that will walk you through the

process.

Board Games Maker

This option can be pricey, but the production value

is very high.

Resource

There is a great, comprehensive list created by James

Mathe’s website under the title “The Hitchhiker’s Guide to

Game Manufactures”.

90 | Page
Chapter 7
Rapid Prototyping
This chapter is new to the third edition. If your

game has hundreds of cards and each contains unique text

and values, then you may want to find a solution to help

with rapid prototyping.

Rapid prototyping is a method that allows you to

manage your game’s cards and tokens on a spreadsheet,

upload that spreadsheet into a program, and then have the

program build the cards dynamically. Rapid prototyping

also lets you make changes to the spreadsheet, titles, and

values in an effort to correct or balance your game and

then be able to rebuild and reprint the cards automatically

without having to go to each card individually to make the

updates.

NanDECK is a popular solution to accomplish this

type of rapid prototyping, but the learning curve can be

steep and some programming experience may be helpful

to get you through the process. The primary benefit is that

this option is free.

91 | Page
 Another solution is www.Component.Studio. It is a

low cost solution that has a much smaller learning curve

and a very easy-to-use interface. Component Studio is

owned by The Game Crafter, which means that after you

build your prototype using this tool, you can quickly send

your cards to the Game Crafter for high-quality printing. If

you need your cards faster, Component Studio also lets

you generate print-and-play files that you can share with

your playtesters or send to your local printer.

How Does Component Studio Work?

To get started, go to the website

www.component.studio and sign up for the free trial. Your

first step is to create a new project. Each game you create

may be a separate project. This helps keep your art, cards,

and rules separated for each of your prototypes.

Fonts

The next step is to choose the fonts for your cards

and tokens. Component Studio comes with hundreds of

92 | Page
great fonts to choose from. Spend the time to find fonts

that complement one another. Also, make sure you don’t

sacrifice readability in order to use a cool font. A good rule

of thumb is that card titles and numbers can have unique

fonts, but text and descriptions should use more

traditional fonts that are easy to see and read. Remember

that graphic design is a balance between style and

usability.

When you find the fonts you want to use, click the

“Add to palate” button. This will ensure that you can use

these fonts later when you are designing the cards and

tokens.

Images and Icons

Next, upload your game icons and images.

Component Studio allows you create groups to help

organize your images. For example, you may want to

create a group for cards and a separate group for tokens.

Or you may want to create a group for icons and one for

the primary card images. It doesn’t really matter how you

93 | Page
structure or organize the images — the purpose is so that

you can easily find and update images as needed.

Uploading images is a very straightforward

process. Click the “Upload Images” area to browse for

images on your computer and upload them in Component

Studio.

The key to images is that they are stored online. That

means you can use the copy icon, which will grab the URL

(web location) of the image. You will use these later when

you are designing the cards and tokens.

Data Sets

This the meat of the process. The data set is the

spreadsheet that contains the card titles and values for

each card. Each horizontal row on the data set is a separate

card, and each column are the values on that card.

For example, in my latest game The Elements, each

card is based on an element on the periodic table. My data

set contains one row for each element because each

element has its own card. The columns of the data set

94 | Page
include information like atomic number, attack value, title,

abbreviation, defense value, and cost. If you have cards

that have very different layouts and values, you can create
multiple data sets and keep them split up to design

different cards for the different sets.

You have some great options available to create the

initial data set. For example, you can upload an Excel

spreadsheet to create a data set. Another option is to create

a data set based on an image library. This will take all of

the images you uploaded in the previous set and create a

unique row for each image, bringing in their URL (web

location) automatically. This will allow you to then

provide the titles and values for each of the card images.

Once that step is complete, the next step is to create

the card designs themselves.

Designs

The final and most important step in the Game

Component rapid prototyping process is to create the card

designs. The card designs pull in all of the images and data

95 | Page
set information to build the structure of the card

dynamically. This means that if you have image or data set

changes, those changes appear on the card designs

automatically with no manual steps involved. In my

experience, this is the true benefit of Component Studio

and has personally saved me hundreds of game design

hours that would have been spent touching each card

image individually.

The first step is to choose the card size and card

orientation. This will set up a template that you can then

build on from there. For example, for my card game, I

selected Poker-Sized Cards in a portrait orientation. Doing

so creates a blank template that looks like this:

There are a couple of guides that appear on the

blank template for the card that are important to note. The

outside border represents the area that could get cut off

when the cards are cut. You do not want any important
96 | Page
images or text in this area. The best option is usually to

extend the border out or extend the card background color

past the outer edges. This helps avoid any white edges if
the cards are cut outside the edges.

The next area with the dotted lines around the edge

shows the recommended space for text. Text outside of this

border runs the risk of being cut off or appearing out of

place. To ensure this doesn’t happen, stay within the

dotted lines.

Card Background

Usually it is best to start with the card background

and then layer on additional card attributes. To start with a

background image, choose the Image button on the right-

side of the screen:

You’ll see some fields you need to fill in for the

properties of the image. Start with the Image URL. In the

previous step, you uploaded images into Component

Studio. On that page, each image has an icon that allows

you to copy the image URL. Copy that URL and paste it

97 | Page
onto the design page. If you are not sure how to do this,

there is a link to a tutorial video that will walk you

through each step at the end of this chapter.

Once you enter the Image URL, the image will

appear on the card. You can use the X and Y fields to move

the image around. Type in different positive and negative

numbers and press the ENTER key on your keyboard.

With trial and error, you will be able to place the

background image where you want it.

If the image is not large enough, or if it is too large,

you can use the Resize section to play around with the

sizing.

Card Icons

Now that you have a card with a background

image, the next common step is to add some icons. To

place your first icon, click on the Image button again:

A new row will appear under the background

image and ask for the same information: Image URL, X,

98 | Page
and Y. Enter that information for your first icon. Play

around with the X and Y until you get the icon right where

you want it. Use the Resize feature again if you need to
make the icon larger or smaller. Repeat these steps until

you have all of the icons placed. The video at the end of

this chapter will also show you how to apply different

icons to different cards if needed.

Reminder: You can find lots of great free icons at www.game-

icons.net.

Card Values

We now have our card background and icons. The

next step is to add our card values. To get started, click the

Text button:
Generic black text will fill the top-left section of the

card design. First, delete the text from the text box

property. Replace it with {$NameOfColumn}, with Name

of Column referring to the column name on the data set

we created earlier. For example, we created a column on

our data set called “Attack Value”. If we want that value to

show up on our card and be unique to each specific card,

99 | Page
type in {$AttackValue} in the text box. You will see the

value in black text appear in the top-left of the card by

default. There are left and right arrows right above it that
let you cycle through each of the different cards so you can

see the value change for each card.

Like before, use the X and Y to set the location of

the text value. This takes quite a bit of trial and error to
find the right placement. There are other properties for the

text value you can apply as well, like font shadows,

resizing, fonts, text boxes, and alignment. These are

demonstrated in more detail in the video included at the

end of this chapter.

Repeat these steps for each value on the card.

Card Titles and Descriptions

The last item to add to the card are the card titles,

descriptions, or other text on the card. This works the same

way as the card values. We would start by removing the

default text and add in something like {$CardTitle}, with

Card Title being the column on our data set that contains

the title for the card.

100 | Page
 Then you position and resize the text as needed,

change the font or color and apply effects. Repeat this for

each text element until you have your final prototype card
design.

Exporting and Printing Your Cards

Now that you’ve created your card designs, the last

step is to print them. You have several options. To get

started, go back to the main “card designs” tab in

Component Studio. Under the “Manage” section, choose

the drop-down arrow next to your card designs. There are

several export options available, but here are three

common ones:

Export Print and Play PDF

This is a great option if you want to print the cards on

your home printer, send them to the print shop down the

street, or post them online for others to print out for

playtesting or reviewing.

101 | Page
Export to Tabletop Simulator
This is a great option if you plan to use tabletop

simulator for your virtual playtesting.

Export images into the Game Crafter

If you want professional quality cards printed, you

can use this option. When you select this option, it will ask

you to tie it to a game you have started on the Game

Crafter. It will then import the cards into your game. From

there, you can go into the Game Crafter and review the
cards. If you like them, you can add them to your card to

print. It’s important to remember that this option can take

a couple of weeks. If you are creating a rough prototype,

then this may not be the right option for you. But if you’re

printing your final prototype, this is a great option.

102 | Page
Component Studio Resources

- To get started with Component Studio, go to this web

site: www.Component.Studio.

- For great video tutorials, go to www.YouTube.com

and search for “Component Studio Playlist”.

- On YouTube, also search for “TCID Role Cards”. This

is a tutorial on how Component.Studio was used to

create the cards for the popular board game The

Captain is Dead.

- Alisha Volkman also has a great video on YouTube

called “Prepping Files and Using Component Studio”

which talks about how to save time by sizing your

images in a graphic editor like Photoshop instead of

using the resize feature in Component Studio.

103 | Page
104 | Page
Chapter 8
Virtual Prototyping
Although physical prototypes are the norm, some

game designers are using virtual board games tools to

demo and playtest their games. There are two great

options for this form of virtual prototyping: Tabletop

Simulator and Tabletopia.

This chapter will provide a high-level overview of

each of these tools. There are a lot of great online tutorials

and videos on how to create, upload and play your games

using these tools.

Table Top Simulator

Table Top Simulator costs about $20. If you want

others to help you playtest, they will each need to pay $20

for the software as well.

The process to create a game on Tabletop Simulator is

pretty straightforward, and the learning curve isn’t too

105 | Page
bad. There are also a ton of videos by other designers on

how to get started.

This is a highly recommended tool for virtual

prototypes.

Tabletopia

Tabletopia is also a great choice for designers. The

primary advantage is that your first game is free for you to

set up and for others to play.

The interface to set up up your game is a little more

intuitive than Tabletop Simulator. But neither tools require

any technical expertise. You just have to be willing to

watch the tutorial and videos available and work through

the process of setting up your game.

Additional Pointers

It is important to note that both of these simulators

create a table and organize your game’s components in a

3D setting. Like in real life, players still have to know the

rules and click on each object in the game to interact with it

106 | Page
appropriately. This type of environment is called a

sandbox.

But one of the great advantages of these virtual

prototypes is you can show and play through your game

with others, no matter where they are. This opens up

opportunities for playtesting and pitching to companies

scattered around the world.

107 | Page
108 | Page
Chapter 9
Group Playtesting
Let’s quickly recap. You have a game idea. You

expanded on that idea in your journal to determine the

theme and game mechanisms. Then you created a

spreadsheet to keep track of the different cards, icons,

numbers, building, resources, and other elements of your

game. You created a hand-drawn prototype to work out

the basics of the game by playing through it by yourself or

with a couple of close friends. Then you put in the work to

create a rough prototype that has some basic images,

numbers, and icons printed on them. Now you’ve received

your physical copy of your prototype in the mail. Finally,

it’s time for some intense playtesting.

Group playtesting is the most important part of the

entire process of developing a game. You won’t know if

your game works — or more importantly, if you game is

any fun — unless someone other than you plays the game.

109 | Page
 This stage of playtesting is different than the solo

playtesting, because in most cases, you won’t be playing

your own game.

Where to Find Playtesters

Finding people to help you playtest your game is

not as hard as you might think. Here are a couple of places

you can look.

Friends and Family

If all else fails, you can host a playtesting session at

your home and invite your friends and family to help you

out. Sometimes it can be difficult to get honest and critical

feedback about your game from those that are close to you,

but it’s still a good option for playtesting.

Local Board Game Store or Lounge

You can visit your local board game store or lounge

and ask around to see if anyone is interested in helping

you playtest. You can talk to the owner and see if he or she

can help you find some potential regulars who would be

110 | Page
willing to help you playtest your game. Many board game

stores and lounges also have game nights where you may

be able to find a group who is willing to give your game a

try.

Local Game Nights

Most cities now have weekly or monthly community

board game events. This is another great place to find an

opportunity to playtest your game. You can usually

contact the individuals who host these events and ask if it

would be appropriate for you to ask others to help playtest

your game.

Board Game Conferences

There are now several small and large board game

conferences you can find at various times of the year

across the United States. Some of these conferences have a

general play area where you can ask around to see if

anyone would be interested in your game. Other

conferences have areas dedicated to playtesting

prototypes.

111 | Page
 If you have an opportunity to find a playtesting

area at a conference, this is by far the best place to find a

diverse group of testers who are usually willing to you

very honest and critical feedback about your game.

There are three stages of group playtesting:

Stage 1: Play Along

With the first stage of playtesting, you’ll be playing

the game alongside the people helping you test the game..

It is common for you to initially explain the rules of

your prototype game and assist players through the

experience as they have questions. Players will look to you

to explain and clarify rules as you all play. Be sure your

first response is to ask them what they think the rule is or

what the right action is to take in the game. Do not offer

the answer directly to them right out of the gate. This will

help you understand how other players process the rules

and information of your game as they play it.

Be sure to take notes as you play. It is important to

capture any rules you had to clarify or explain during the

game. Also make notes if players needed clarification on

112 | Page
the rules. Be sure to describe overall experience, like which

parts players enjoyed or didn’t enjoy while they played.

Note things like time between turns, player interaction,

and player satisfaction when the game ended. It may be

helpful to have someone help you take notes during the

gameplay.

Additional feedback is usually gathered by asking

the playtesters a set of general or prepared questions. You

should focus on questions like:

Did you enjoy the game? Why or why not?

What did you think about the length of the game?

What was your favorite part of the game?

What was your least favorite part of the game?

How would you explain this game to your friend?

These are just a few sample questions. Remember that

the purpose of these questions is to create a safe

environment where players can share their true thoughts

and opinions about your game. Do not get defensive. Just

take down the notes as objectively as you can.

113 | Page
 You will experience a lot of different emotions

during playtesting. Some players will tell you that your

game is awesome and that they can’t wait to buy it. Others
may tell you that your game is terrible. More often than

not, players will tell you what they think you should

change about the game. Take each response with a grain of

salt. If one person makes a suggestion, take it or leave it. If

you begin to hear the same response from different people,

you really need to take note. If three or four individuals

share the same feedback, you can usually assume that

many others will have the same experience when they play

the game.

Stage 2: Set Up Game then Observe

After you make it through the initial playtesting

that you sit in on, it is very important that you move to

playtesting where you are not playing the game.

For this round of playtesting, get a group together.

Make sure they are non-game designers. Set up the game

and explain the rules. Then hand over the official game

rules to a player. Let the players know that you will not be

114 | Page
playing or assisting them with the game, and that you will

be taking notes you will use to continue to improve it.

Once they have completed the game, be sure to ask

similar questions as before about their experience. But this

time, have them fill out a paper or online form instead of

directly asking them. This will help you begin to gather

more anonymous and open feedback.

Stage 3: Blind playtesting

By now you should have gotten a lot of great

feedback about your game and made some changes to the

game or rules based on the feedback. The key at this stage

is that the rules for your game should be complete and

easy to understand. There will be some additional tips on

the most effective way to structure your rules sheet in the

next chapter.

With all of that complete, you are ready for blind

playtesting.

There are two methods you can use for blind

playtesting. Method one is to send the game to a person

who is willing to play the game with their friends in your

115 | Page
absence. You will provide a short note asking them to read

the game rules, play the game with their friends, and then

fill out the included questionnaire.

Another method is to bring a group together and

record them playing the game. This is the preferred

method, because it allows you to see the entire experience

from beginning to end without any of your interactions

with the players. With this method, you will be able to see

how they set up the game, read through the rules, play the

game, and, best of all, hear their thoughts and comments

after it ends.

Some individuals may be unwilling to share open

feedback because they know a camera is recording them,

but overall, the feedback should come freely and naturally.

Thank Your Playtester

The most important thing you can do after a

playtest is thank the participant. You have to remember

that the playtester took the time and energy to sit through

your (potentially broken) game. Tell them you appreciate

116 | Page
them and you appreciate the feedback that they provided

to you.

Final Thoughts

A lot of designers I know do not do well with this

step in the design process. Many of them are very close to

their games and have a difficult time hearing critical

feedback about their “baby.” The key is how you use their

feedback.

Someone may tell you that your game sucks and

that you should think about abandoning the game and

starting over. That information is not helpful to you. Have

them explain which elements of the game they did not

enjoy and what would have made the experience more

enjoyable. Then take that information back and see if any

others made similar comments. The key is to validate the

feedback from multiple sources, find any patterns, and

then determine how or if you are going to address it in

your game.

Also, be very careful how you make changes to

your game as you receive feedback. Changing one small

117 | Page
rule or number in your game can cause different or larger

issues. Always be sure to find a way to keep the different

versions of your game and rules. You may want to revert

back to a prior rule set after you find a change you made to

the rules makes the game even worse.

The final recommendation with playtesting is to

remember you don’t have to pursue perfection to finalize

your game. I’ve seen several game designers never publish

their game due to trying to make it perfect. There is no

such thing as a perfect game. And there are a lot of games

that have severe imperfections that are still very popular.

Look at the low player board quality in Terraforming

Mars. Or look at the sometimes confusing rules to Betrayal

at House on the Hill. These imperfections did not stop these

games from being some of the most well-known and

popular games out there.

118 | Page
Chapter 10
Your Rules Guide
One of the most important elements of your game

is your rules guide. It is always interesting to watch a

group of new players open up a game they have never

played before and try to walk through the rules straight

out of the box. There is a significant issue in the board

gaming industry around creating easy-to-follow guides,

whether the game is ten years old or just came out this

year.

Several examples exist where a game falls short of

its potential just because it has a poorly-executed rule

book. A modern example that comes to mind is First

Martians. This is a superb game by one of the greatest

board game companies out there. But, honestly, they have

had issues with their rule book. To be fair, the game is

highly complex, so crafting a good rules guide is even

more difficult for that game. A case may be made that this

game could have performed much better on the market if

it had launched with a solid rule book.

119 | Page
 When crafting your rule book, there are a couple of

things to keep in mind. Here are some common best

practices to employ:

Make No Assumptions

Do not assume your players know anything about

board games. Try not to use board game terms like worker

placement, legacy, campaign, meeples, victory points, or

other common gaming terms without providing an

explanation.

Also do not assume that a player will logically

know what to do next on their own. For example, if a

player draws a card in Candyland, do not assume that

they will know that they can advance their pawn to the

next color space on their path. This may seem obvious, but

the goal is to be clear and direct when providing the rules

of your game.

120 | Page
Start with the Theme

Many great games begin the rules guide with a

short story or a vivid description about the theme of their

game. For example, the abstract game Tsuro, which

basically consists of a grid and some tiles with lines drawn

on them, transports players into the theme with their

opening paragraph in the rule book, which reads:

Since time began, the Dragon and the Phoenix have

guarded over and guided the intertwining paths of life,

maintaining the careful balance between the twin forces of

choice and destiny. The two powerful beings share the noble

task of overseeing the many roads that lead to divine

wisdom. Through its masterful blend of strategy and

chance, Tsuro represents the classic quest for

enlightenment.
This is a great way to set the tone and story of the

game, even before you mention a single rule.

121 | Page
Visual Game Setup

After you provide a vivid and engaging statement

about your game’s theme, the next step is to provide the

initial setup of the game.

Some best practices that appear to help players get

set up and start playing quickly and clearly is to provide

an overhead image of the game that has been fully set up.

In a lot of cases you will see the game board in the middle

and the players’ starting cards, resources or player board

setup as well.

Along with the image, you may include numbered

steps next to each item with a brief description. For

example, you may see this text box near the image of the

board in the middle of the table: “1. Place the game board

in the middle of the table.” Then proceed with each logical

step someone would need to follow to ensure the game is

fully set up and ready to go.

You can also include some highlighted areas

players may need to know throughout the game. For

example, you may want to highlight an area on the table

122 | Page
where discarded cards will be placed. Also be sure to

indicate who will be the first player.

The Goal of the Game

Although not required, it may be helpful to let

players know the goal of the game near the beginning of

the rule guide, as well as at the end of the rule guide. This

is helpful to orient players. For example, letting players

know this is a cooperative game versus a competitive

game is helpful. Or letting them know that the lowest

score wins or the player with the most money at the end of

the game wins.

Walking Through a Round

Most rule books do a good job of walking players

through a typical round. One helpful tip is to provide a

one-sentence recap of each paragraph on a column on the

left side of the page. See the rules guide for The Castles of

Burgundy the Card Game for an example. This trick helps

provide a clear reference players can follow that

123 | Page
consolidates a lengthy section of rules into one quick

sentence.

Another trick is to color code sections. For example,

your game may have two main actions a player performs

on their turn: play a card and take a card. For the “play a

card” section, you could place the text in a large rounded

rectangle or text box that has a green background. When

you begin to switch over to include the “take a card”

section of the rules, you can place that section in blue. This

serves as a visual reference for players to keep the two

distinct parts of their turn separated.

One final recommendation for this section of the

rule guide is to provide as many helpful graphics as you

can. Remember, different players have different learning

styles, and including a visual representation can help

players understand and retain the rules.

finaEnd-of-Round Rules

Be sure to include specific instructions to players

about what happens between rounds. Sometimes there is

124 | Page
cleanup, resource refreshing, hand limits, or end-of-round

scoring that needs to occur.

This is a great place to provide an example of a

round or end-of-round as well. These types of examples

can walk a player through common decisions and actions

they may experience during a round. Be sure the example

provides clarification on the basic rules and that it doesn’t

cause any additional confusion by including scenarios of

rules not referenced in the rules yet.

End-of-Game Rules and Scoring

Most games do an excellent job with this section of

the rule book. Just a couple of notes on things to include.

Be sure to include tie breaker explanations. It can

be dissatisfying if a tie occurs and there is nothing in the

rules to help determine how to break that tie. You may

also want to consider putting in a special card that the

winner can take a photo with and upload to their social

media. This is a fun and simple tip you can utilize to help

players promote your game on Facebook, Snapchat, and

Instagram.

125 | Page
Online Rules

One huge limitation of rule books is that you

cannot make corrections once the game goes to print. You

can address this by including a link in your rules that

points to a website. Your website can help provide

updated rules, game variants, and a frequently asked

questions section. This is a great resource for players,

especially if your game is complex.

Another benefit of having online rules is that you

can provide hyperlinks and videos. These two tools can be

more effective than the limitations of print and graphics in

a rule book.

You can create a free website using Wix or Weebly.

Both are very easy to learn and use. They also provide

templates that will make your online rules look

professional. These templates are also mobile friendly.

Rules Videos

Another great tool you can use to explain your

rules to new players is to create a video. Creating videos

has become much easier with mobile phones. There are

126 | Page
several free video editing tools for Android and Apple that

make recording, editing, and uploading these videos a

breeze. Another benefit of uploading the game video is the

fact that you can host it on YouTube or your website, so it

is easy for new players to find.

Be sure to look at Rahdo Runs Through It and Watch

It Played to get some ideas on how to create a rules walk-

through video.

127 | Page
128 | Page
Chapter 11
Pitching to Publishers
As a quick recap, at this point you should have a

well-tested prototype that was created using free or cheap

stock art. You should also have a complete rules guide.

With those things in hand, you are ready to pitch your

game to potential publishers.

You may be asking yourself why you wouldn’t

pitch your game to publishers earlier in the process, and

that is a great question. You do not have to wait until you

have a solid prototype and rule set to approach a

publisher, but it is recommended. The reason is because, at

this point, the game is in a good place for a publisher to

take over. If you pitch your game too early, you are

heavily relying more on the words of your pitch than a

physical game. Words can be powerful, but having a

tangible, playable game can best communicate the theme,

mechanisms, and experience of the game.

You may also be asking yourself, why not wait to

pitch the game after it has all of the art complete? It turns

129 | Page
out that quite a few publishers have their own artists and

developers. These publishers may throw away all of the art

you have for the game and/or completely re-theme it. I

have heard several famous game designers wish that they

had not invested so much time and money in their game’s

artwork, because in many cases the publishers just

stripped down the art and theme and rebuilt it from the
ground up.

How do I connect with a publisher to pitch my game?

The answer to this question continues to evolve

each year. This is because the popularity of board games

has exploded in the US over the last couple of years. A

decade ago there may have been a handful of new games

released annually. But just last year, over 1,000 new board

games were released. This increase in game designs and

releases is making it more and more difficult to get your

game in front of a publisher.

Here are just a few ways you might approach the

challenge:

130 | Page
Scheduling Time at a Convention

There are a lot of large board game conventions

worldwide each year. These conventions are always well

attended by small, medium, and large publishers. One

strategy you might use to get your game in front of a

publisher is to contact the publisher to set up a quick

demo/pitch at one of the conventions. This can be a

difficult tactic, as many of these publishers are extremely

busy, but it doesn’t take much time or effort to try this

method. You might find it works best with small

publishers, or publishers who focus on games like the one

you are pitching.

131 | Page
Publisher Speed Dating

Many large conventions also have a scheduled

publisher speed dating session. This is where you can sign

up for a table, then meet with publishers for a three to five

minute pitch. After the time is up, that publisher will go to

a different table and a new publisher will show up at your

table for you to pitch the game again.

This tactic can be great, as you will be able to show

and pitch your game to multiple publishers. The challenge

will be the time constraint of pitching your game in three

to five minutes. Be sure you spend a lot of time in front of

a mirror or with a friend practicing your pitch. Some

recommendations on using the three to five minutes:

Start with a 30 second overview of your game. Include

your name, the name of the game, the general theme, and
what you think makes the game fun or provides a great

player experience.

Do not try to play through an entire round of your

game. Instead, start in the middle of a round. Explain

quickly what has happened already, and then walk the

132 | Page
publisher through the next step in the turn. Be sure to pick

the best moment from the round.

Do not forget to focus on what makes the game a fun

experience. Many times, designers will try to get into the

nuances of the rules or tell how they fleshed out the idea

for the game. Your goal is to get a publisher interested in

wanting to publish the game. Do not forget that.

It’s time to be an extrovert. No matter how shy or

nervous you are in that moment, present yourself as

confident and excited. Be sure not to take it too far though.

There is nothing worse than arrogant and cocky.

It’s also time to have some thick skin. This game may

be your baby that you’ve nurtured up to this point. But

know that you are going to face rejection and critical

feedback. Do not get defensive or hostile, no matter what

negative feedback or comments you receive. Remember

that a publisher’s feedback is gold. Write notes during or

after the session, especially if you hear the same comment

more than once.

Follow-up when appropriate. If a publisher says they

are interested and would like to talk more, make sure you

133 | Page
get something scheduled as quickly as you can. Or if they

let you know they would consider your game if you made

some changes, make the changes and resubmit it to them.

Take any kernel of hope and ride it as far as you can,

without being annoying or stalker-ish.

Game Competitions

It is surprising how many board game

competitions are going on at any given time. Be sure to

keep up-to-date with the publishers and board game

website competitions. I have seen several games get

published or Kickstarted this way. The competitions for

these contests seem pretty soft overall. In many cases, even

large competitions max out at a hundred developers.

Unpubs

A lot of conventions have areas for unpublished

developers. These are a great place to playtest a game, but

it can also be a great place to run into publishers who are

there to scout new games.

134 | Page
Game Publisher Submissions

Some game publishers have an area on their

website where you can submit your idea for a game. Be

sure to utilize that opportunity. Also, be sure to follow the

publisher’s submission guidelines. Many publishers won’t

even look at the game if you do not follow their process.

Facebook Groups

There are a few Facebook groups dedicated to

uploading sell sheets to potential publishers. A sell sheet is

a one-page summary of your game. It usually includes a

visual layout of the game, some information about the

game’s theme, and a list of things that make your game

unique or fun. I was shocked to see how many publishers

are actually mulling around the Facebook groups.

135 | Page
Final Words of Advice

The most important thing you need to do is learn

as much as you can about the board game publishing

companies. Be sure you know the company name, what

types of games that the company publishes, and who the

major players are for each company. You should be able to

identify a president or scouter for a major publisher as

soon as you see them wandering around a board game

conference.

Along with this, network with as many people as

you can. Volunteer to work a publisher’s booth at a

convention, sign up to run a demo of their games at your

game store, or listen to their podcasts. If you are serious

about getting your game published, you are going to need

to be knowledgeable about the industry, and you’re going

to have to network to gain this knowledge.

If you do get picked up by a publisher, be sure you

understand what they will do with your game, what

happens to the game in the event they end up doing

nothing with it, and how you will get paid for royalties.

136 | Page
There are a lot of standard publisher contracts you can

review online to get a better sense of this before you sign

the dotted line.

137 | Page
138 | Page
Chapter 12
Final Prototype
You may decide that you want to do the publishing

part yourself. This means that you are going to be

responsible for the promotion, selling, printing,

distributing, storing, and customer service for your game.

The final prototype should have everything that you plan

to hand off to your customers.

If you do decide to move forward with self-

publishing, the first thing you are going to need to do is to

finalize all aspects of your game. This means that you are
going to need to find the final art for the game, maybe

through a website or created by an artist. You are also

going to need to determine the final quality of the cards,

board, and components.

The next few chapters will lay out the rest of the

process.

139 | Page
140 | Page
Chapter 13
Self-Publishing Basics
Now it’s time for the hard part. As game designers,

our natural talents may not be strong in the skills and

competencies required to self-publish. If you find that you

are unable to perform the steps in this chapter, it may be

time for you to consider partnering up with someone who

is.

Kickstarter Basics

Kickstarter is currently the most popular place to

try to get financial support to launch your game. There are

other similar platforms that you can use like IndieGoGo, but

a lot of self-publishers (and large publishers) are finding

the most success on Kickstarter.

These types of sites are called micro-investment

sites. They are sites that allow individuals from across the

globe to support ideas or products they believe in. In a

sense, they are backing the product. For board games, this
plays out in two general ways. For games that already
141 | Page
exist, it can be used as a pre-order system. This allows a

publisher to determine the interest and see how many

people want to pre-order a copy of their game through

Kickstarter. Then, the publisher has the funds to print

copies and ship it to the backers. Another way Kickstarter

is used is to see if there is support for a game idea. You

may not have anything to show for the game other than a
couple of ideas. Or, you may have a good prototype and

you are ready to take the next step to production. This is

another good way Kickstarter can help beginning game

designers.

Getting started on Kickstarter is very easy. Sign up

for a free account and then click the link to “Create a New

Kickstarter Campaign.” A campaign has several sections

that you walk through.

Basics

The first section is the “Basics”. On this page, you

will upload a photo of your game, a brief description, and

the amount of the funding goal. For the photo of your

game, you will need to use the graphic design software

142 | Page
from the previous chapter to create a 1034x576 pixel image.

There are several examples of other Kickstarter games.

Generally, you will want to choose an image, box or cards

that convey the theme and player experience for your

game.

For the brief description, be sure to use a paragraph

that will capture your potential backer’s interest. Based on

the success of other Kickstarter games, it is a best practice

to highlight what makes the game fun and what genre it

fits in. For example, here is the description of Martin

Wallace’s Kickstarter description for his new game,

AuZtralia.

Exploration, economics, adventure and high-tension combat

in a game for 1-4 players. How will you save humanity against

the Old Ones?

This description provides the mechanisms, the type of

game, the number of players, and theme in a couple of

short sentences.

The last item you must select is the funding goal.

Keep in mind that with Kickstarter you must reach the

goal, or you get nothing, and all the backers get their

143 | Page
money back. Setting the goal too low may make it look like

you aren’t serious, or you are not confident your game will

fund. Setting the goal too high risks losing all the money
and having to re-Kickstart your game, which is not fun at

all. Try to find the sweet spot. If this is your first game,

$1,000 is a good starting goal. Be sure that whatever

funding goal you set generates enough backers for you to

get the pricing you need to print your game, because the

more copies you print, the cheaper the game.

Rewards

In the next section for a Kickstarter campaign,

you’ll need to fill out the rewards. The rewards determine

what your backers will receive based on the amount of

money they give you to support your Kickstarter

campaign. For example, you could set a reward that

provides a print-and-play copy of your game to anyone

who pledges $10 or more to your campaign. This is a copy

of the game, usually in PDF form, that backers can print

and cut out themselves instead of getting a professional

version of the game shipped to them.

144 | Page
 Another example is a reward for a single copy of

the game for $40. Be sure the price you set will cover the

cost of printing and shipping the game. Also keep in mind

that Kickstarter will take a nine to eleven percent cut of

your funds for their fee. There are a lot of horror stories of

self-publishers who didn’t do a good job calculating the

cost and ended up having to pay money out of their pocket

instead of making a small profit or breaking even.

The last consideration is shipping. Kickstarter

allows you to set shipping prices for the US or for backers

outside of the US. This topic is addressed specifically later

in the book.

Other popular options to add to your rewards are

stretch goals. Stretch goals are overall goals you are trying

to achieve for the Kickstarter. These are set to help save

printing costs, as you may have certain cost breaks based

on the number of backers. Many self-publishers use those

cost savings to add stretch goals. For example, a stretch

goal might be to achieve $10,000 in support. If that $10,000

goal is reached, all backers will receive a free “promo”

card. Or, instead, all of the game components will be

145 | Page
upgraded from plastic to wood. There are several creative

stretch goals you can incorporate into your Kickstarter.

You can also set up expensive rewards up in

Kickstarter too. Some campaigns have a $100 reward

where the backer can provide a photo of themselves to be

made into a card in the game. Or a reward for $125 can be

added for the deluxe version of the game with upgrade

cards and components. You could add rewards for add-

ons. Like a reward for $110 gets you a copy of the game,

plus an exclusive book of art from the game. You can find

a lot of creative examples on other Kickstarter campaigns.

Story

This is the section of your Kickstarter where you

provide everyone the details of why they should buy your

game. You can include a brief story on the theme of the

game or how the idea for the game started. You can

include photos of the game board, cards, or layout. You

can provide game rules or a bullet list on what makes your

game a fun and unique playing experience.

146 | Page
 This is where you are going to need some

marketing skills.

You should also use this section to include reviews

of your game. You can send some prototypes of your game

to various board game reviewers and get quotes or videos

of their review of your game. Some reviewers will do this

for free, but a lot of well-known reviewers may charge you

a review fee. Just know that if you really want to take your

Kickstarter campaign to the next level and have success,

reviews are one of the most important features you can

have on your page.

Kickstarter Video

Another important element for the Kickstarter page

is having a video added to the “Story” page of your

Kickstarter campaign. Kickstarter campaigns featuring

engaging videos typically generate a lot more backers than

a campaign that does not have a video. A video is a great

way to visual communicate the theme of your game, what

it’s like to play the game, and to highlight what makes

your game a great experience.

147 | Page
 You have a couple of things to consider when

creating your video.

Low Budget Cell Phone Video

Our smartphones can serve as a really good video

camera. If you decide to go this route, be sure to invest in a

tripod or hand stabilizer if you are going to hand-hold the

camera while filming. You can find affordable options on

Amazon if you are trying to keep your costs down. It’s

important that you use these accessories, though, because

they will instantly add a higher production value to your

video.

Mid-range DSLR Cameras

Many recreational photographers have modern

DSLR Canon or Nikon cameras. If you or someone you

know has one, this may be a good option for you. DSLR

cameras that can shoot videos create extremely high

quality, professional videos with very little effort. In most

cases, you can use the standard lens that comes with the

camera and set the camera to auto mode. If you use this

148 | Page
method, make sure each shot is in focus. This is the most

challenging aspect of using DSLR cameras.

High-End Cameras

If you are looking to create Hollywood-quality

videos, there are options to rent high-end cameras at an

affordable cost. You will have to put down a large chunk

of change as collateral in case you damage the equipment.

This option is only recommended if you have a lot of

filmmaking experience and should not be used by an

amateur filmmaker, as these high-end cameras can be

extremely complicated to use.

Filming and Editing

Regardless of the camera you choose, you’ll need to

film and edit the video. When filming, the two most

important aspects are lighting and sound. Be sure that you

have ample natural light if you are shooting indoors. Also,

be sure that you can hear the person talking, and try your

hardest to eliminate all background sounds like air

conditioners, traffic, and wind.

149 | Page
What to film?

You have a lot of creative freedom when creating

your video. You should put together a broad outline of the

sections of your video. For example, you may want to start

the video by filming yourself in front of your game shelf,

talking about the idea and theme of the game. Second, you

may want to show an overhead shot of the game

positioned on the table and walk through the game basics.

Lastly, you may want to end with another shot of you with
the game thanking everyone who is supporting the game.

Before you film, be sure to capture those sections

on paper and make notes. Write down the general

dialogue you want to say during filming. Having a

structured plan will save you tons of time instead of you

trying to wing it and create the video on the fly.

Production Companies

Video just may not be your thing. You can always

have a company do the video for you. The primary

downside is that this can be very expensive and may take a

long time to get through the entire process.

150 | Page
Kickstarter Launch

After you complete all of the steps listed above,

you are ready to launch your Kickstarter. You will need to

enter your bank account information. This is where

Kickstarter will send your money if you successfully fund.

One important note is that Kickstarter will take a cut of

your funds. If your project doesn’t fund, there are zero

fees. If it does fund, US fees are assessed by:

- Kickstart fee = 5% of total funds raised

- Plus payment processing fee = 3% + $0.20 per pledge

(or 5% + $0.05 per micro pledge)

A lot of first-time game designers cut their profit margins

so close that they forget about these fees and ended up

having to cover some of the costs out of their own pockets.

Try to avoid this by really planning out your expected

costs as much as possible.

After you click the “launch” button, your game

design will appear for the entire world to see. Kickstarter

has some built in filtering and sorting that is relevant to

your game. For example, Kickstarter has a “games”

151 | Page
section. In that section are subsections like tabletop, card,

video game, etc. Be sure you select the best category to

help potential backers find you the easiest. For board

games, the recommended subcategory is “tabletop games”.

When potential backers are on the Kickstarter page,

you are really hoping they use the “newest” sort. This is

the only time your game will be guaranteed to be at the

top of a list. Kickstarter also has an option to sort by

popularity. If you are at the top of this list, congratulations;

you are on your way to success. Kickstarter’s default sort is

called “magic”. The algorithm that is used for the magic

sorting feature is secret. But several researchers believe it is

based on a combination of the number of backers per day,

the web traffic and video plays, and the conversion of

traffic. Being at the top of this list will get you the best

exposure. The challenge with these sorting methods is that

you are competing with 200-300 other games, and you

have very little control over these algorithms.

Another important phenomenon to understand is

the “Kickstarter dip.” Kickstarter campaigns usually get

most of their funding in the beginning of the launch. Then,

152 | Page
you usually see a huge negative dip, and then at the end

you may see another surge of backers. Anything you can

do to time your promotions of the game during this dip

will help you keep momentum all the way through the

campaign.

Successfully Funded! Now What?

When you successfully fund your Kickstarter

campaign, take a moment to celebrate your success. You

have now officially secured funding and pre-orders for

your game. You really just have two steps left: printing

and shipping your game to your backers, which will be

covered in the next section.

Life Outside of Kickstarter

It is important to note that Kickstarter is not the

only method to self-publish your game. Another self-

publishing option is to sell your game on your website.

You can take pre-orders or print on-demand as you sell

individual copies. This method is extremely challenging

153 | Page
because you have to find a successful way to market your

game and get potential buyers to your website.

Another self-publishing method is to approach

distributors or stores. This method will require a lot of

phone calls and self-promotion, and it may be one of the

most difficult paths to self-publishing for the average

game designer.
Remember, you can always use the tips in this book

to find a publisher that will take on this part of the process

for you. It is important to note that it may be more difficult

to get a publisher to pick up your game after you attempt

or succeed on Kickstarter. One reason is because the

primary audience may have already backed your game.

Publishers may view this as you already tapping those

who may be interested in the game. This reason isn’t

always the case, because if you find huge success on

Kickstarter, a publisher may want to continue to ride that

wave of success.

154 | Page
Mass Manufacturing Options

If you did successfully Kickstart your game and

you need to print a large number of copies, it’s time to find

a manufacturer. You have several options to choose from

in the US, in China, and across the globe. Some key factors

to consider are price, quality, and turnaround time. James

Mathe, one of the greatest board game gurus out there, has

put together the definitive list that takes all of these factors

into account. You can find the list on:

www.jamesmathe.com/hitchhikers-guide-to-game-
manufacturers/

When you review the list, be sure to look at other

factors that are important as well. One important factor is

the minimum print run. If 500 backers ordered your game,

you do not want to use a board game manufacturer that

only does a minimum of 1,000 copies. Another important

factor is customer service. This is especially important if

you are using a Chinese manufacturer. You want to be able

to have open, direct, and constant contact with the

manufacture.

155 | Page
 The last important factor is the ease to get quotes

and the ability to provide sizes and files. You want to get

an accurate quote on the cost to print and ship the games

to you. You also want a clear and straightforward way to

communicate the card sizes, board quality, game

components, and graphic uploads with the manufacturer.

If you are working with a Chinese manufacturer,

there are two surprises you might experience. The first

surprise is the Chinese New Year. This is a period of about

a month, early in the year, where there will be zero work

on your product. Be sure to plan your timelines

appropriately around this holiday. The other surprise is

that it takes a long, long time to ship from China to the US.

Plan accordingly.

Shipping Basics

Shipping is one of the most difficult aspects of

board game publishing. You have to make sure you

understand shipping costs, value added taxes, and duty

fees. You also have to plan for lost and broken packages in

156 | Page
transit. Luckily, there are several tools to help you navigate

this process.

Drop-Shipping

Drop-shipping is when the manufacturer sends the

finished product directly to the customer, bypassing you.

Many manufacturers do not offer this option. If there is an

option, you may also have a high handling fee associated

with the service. The upside is that you do not have to do

the shipping work yourself.

Self-Shipping

Most game designers have done this at some point

in their career. Many times it is convenient to have the

manufacturer ship all of the games to your home. Then

you put the games in envelopes or boxes, print a mailing

label, and take it to the post office to ship. In the end, this

is probably the most profitable method of shipping. But

many game designers will tell you to avoid this method if

you can, because the time and energy it takes is very

taxing.

157 | Page
Fulfillment Centers

This appears to be the preferred approach by

experienced game designers and publishers. The

manufacturer ships the games to a fulfillment center and

that center repackages and ships the games on your behalf.

This will save you a lot of time and effort, but there will be

a fee associated with this service. This service may also end

up saving you money for international shipping as well.

Jamey Stegmaier, with Stonemaier Games, has a

website with a ton of information on the topic of shipping.

The site also provides a lot of great supplemental material

on how to design and publish games as well. Jamey is one

of the leaders in this space and has done a tremendous job

of sharing his experiences and lessons with the world

through his website: www.stonemaiergames.com.

158 | Page
Final Notes
I hope that this book helps guide you through the

process of designing your game and getting it out to the

world. My hope was to condense the last four years of my

challenges and successes, so that you can make it through

the process that much faster and with great success.

The parting advice I want to leave you with is to

finish a game. I have run into so many people who have

ideas for games or half-designed games that have been in

their heads or on scraps of paper for years. Don’t let the

game exist in your head or in a notebook. Let it exist as a

tangible, playable game — even if that game ends up being

terrible. It is so much more important to me that game

designers craft a tangible, playable product. In my opinion,

you have not fully created a game until you have a game

that can be played by others.

My other parting advice is to help other designers.

New designers need your guidance as they struggle

through the process. Tell your neighbor who wants to

design the next Monopoly that he really needs to try out

some modern board games. Tell the new person who just
159 | Page
showed up at your local board game meetup that you’d be

happy to help them playtest their game.

Note: If you help someone playtest your game, always ask

them what stage the game is in, how long it will take and

what makes it fun. It is okay to turn down a playtest for an

experience you will dread.

And finally, best of luck. This is a highly

competitive industry with some amazing and brilliant

game designers. It is my hope that you are able to join

them with brilliant designs and great success.

160 | Page