Thursday, March 5, 2020

Super AiG Screenshots Of The Year: 2019

This week on Super Adventures, I've got a page full of screenshots with writing under them for you. Sounds pretty typical for this site, but this time there's a twist: you've seen them all before! There's absolutely no new content here for you!

I usually do my Screenshots of the Year post on New Years Eve, but I didn't see the point in keeping you waiting a few weeks when I'm already done writing about games this year. I'm taking another break, no more games until the end of January I'm afraid.

Taking all these two months breaks has really helped me out though. For one thing it meant I only had half the amount of posts to look through when I was picking out my favourite screenshots. Plus it meant that my short list turned out to be a lot shorter than usual, so I didn't have to agonise over what screens and GIFs made it into the final post. The moral of the story, doing less work is... good?

(If you see a screenshot from a modern system you can probably click it to see the same image in glorious 720p!)

Read on »

Narrative Arcs In Board Games, LTUE Panel


I kicked off my experience as a panelist this year at Life, The Universe and Everything Symposium (LTUE Website) with a discussion about using narrative arcs in boardgames. As panelists, we covered a broad range of subtopics, but the general discussion narrowed down into three main categories: do you need to have a story, how stories are used in games, and stories we tell from playing the game.

The background of the panel group provided a lot of viewpoints from different angels on the subject. I walked away knowing more than when I went in. That is one of the great things to me about attending conferences, conventions, and symposiums—no matter my level of involvement, it is a fantastic learning experience.

Do You Need a Story?

The first specific topic discussed was if a game needed a narrative storyline. This simple answer is no, you don't have to have developed a story for the game to work. There are some games designed on the mechanic being used. However, having a story has advantages.

A story gives more cohesion to gameplay. We think in stories. Having a game with a story provides a line of thought for the players to grab hold of and move through the events of the turns, rounds, events, beginning, middle, and end. The cohesion can even start before the game begins.

It provides imagination seeds from the beginning. What attracts us to games is an important part of the development process. We create games because we want people to play them, but also we want people to buy them. A story provides that extra jolt. It is something that can be added into the packaging. One of our panelists stated simply they would play a game with a story instead of one without.

How are Stories Used as Part of the Game?

A story is a good tool for teaching the rules of the game. A game tying the rules to a story makes it easier to remember what needs to be done next. Many rulebooks now provide a narrative before and during the introduction of the rules. This allows players to follow the story as they learn the aspects of the game and what they need to do.

A story helps maintain the flow of the game during play. Most games have the same general flow we see in movies or read in books. They have a beginning, middle, and end. They also have more specific elements that we see in story construction. With these elements, the story allows players to know what is happing in the moment and what is coming up.

Some games are heavily driven by the story they tell. One example of a story driven game is Betrayal at House on the Hill. The story helps in building the tension the players know will be coming. As the game progresses the book is referenced to give a twist to the story and lead to its conclusion.

These combine to give the gameplay a fuller feeling. Some have more immersion in the story than others. There were comments of the loss of time during playing when a story is fulfilling. This leads to another part about the use of story that brings many of these points together.

What Type of Stories Do We Tell After Playing?

Not only do we think in story, we like to tell them. We tell stories about things we do every day. We tell stories about the adventures we go on and the mundane things that happen. We also tell stories that develop from the games we play—and they come in two general flavors.

We like to tell about how the game unfolded. We talk about how we set up, how the strategy unfolded, and if it worked or not and why. We share the events of the war game as a novel unfolding on the table in front of us. We especially like to tell them to people who have experienced the game before, but we love to share the details also with new players.

Visit a convention and you will hear people sharing the stories of past victories and defeats. This is an important part for game developers. People share stories because they become emotional about the game. They are recruiting new players. They are convincing somebody that your game needs to be on their shelf and be a part of the gaming group.

Final Thoughts

Games don't have to be designed with a story. I think most games come naturally with one, or the story is developed while the game is played. There are games that are purely strategy that many of us like to play. Most games played with standard playing cards probably fall in this category. But now we have all sorts of new board games and other tabletop games being played.

Board games with a story are usually more attractive to players and are the ones that get people talking. As a developer that's important. When other people are talking about your game they are marketing the game for you. With this in mind, see how strong the story is that your game either supports or creates.

Panel Summary (from the program)

While often overlooked, board games can be an effective storytelling medium. This can range from the game actively telling a story to passively telling the story through the mechanisms in the game. Learn how to unlock your game's storytelling potential.


Other Panelists

Christopher Baxter

An author, editor, podcaster, and (why not) yes, a game designer. He shares stories and writing tips at writerinthehat.com and is host of A More Civilized Podcast.

Paul Robbins

Creator of the Trait Spectrum, a proprietary questionnaire of Paladin & Archer Software Systems, Inc. He is the company's experimental psychologist. A personality type test similar to the MBTI is available to the public for free at app.developerlevel.com.

Skye Larsen

Part of the two-person team of Rob and Skye Games, an indie studio working on a computer game called Alkanaur. Because one medium is never enough, he recently started designing for table-top games as well. Skye helps produce the popular Game Design Round Table podcast and does freelance writing and edits game rulebooks on the side. Twitter.com/robthesky_games.

Mike Holyoak

A lifelong geek obsessed with table-top RPGs, board games, and board game design. He is a three-time finalist of the SaltCon Ion Board Game Design Contest and one-time winner. Anubisnine.wordpress.com.

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Just Act Casual


2018 was the year of the skirmish game for us. We spent a lot of time playing 7TV, Doctor Who: Exterminate, and Mythic Battles: Pantheon, and even more time painting miniatures and building terrain for them. On the surface, Firefly Adventures: Brigands and Browncoats looks like another boxed skirmish game, but it really isn't -- at least, not entirely.

Like Firefly: the Game and Doctor Who: Time of the Daleks, Firefly Adventures shows that Gale Force 9 are masters at building engaging games around licensed properties, rather than simply slapping a licensed theme on an otherwise generic game design, and that they have a deep understanding and respect for the material the game is based on.

It's a cooperative game where every player plays a character from the Serenity crew, which should immediately appeal to fans of the television show. The game controls the bad guys using a simple but elegant AI that dictates what they do based on criteria such as where the closest player character is, or in some cases a pre-determined patrol route. This is interesting, but it is the game's two core concepts that really set it apart from other games of this type, and also makes playing it feel like an episode of the show.

The first of these is the idea that player characters switch back and forth between acting casual or acting heroic at various points in the game, sometimes by choice and sometimes not. A casual character can move freely about the board without attracting the attention of the bad guys, making it easier to sneak into buildings and even talk to the non-player characters. However, many actions such as attacking or breaking down doors require characters to act heroic, which attracts the attention of the bad guys, causing them to move and attack any heroic characters they can see. Each state is represented by a separate miniature, one in a casual pose and the other in a more action-packed one.


The other game mechanic that makes this game more interesting and thematic is the turn structure. Rather than just moving in turn, characters' movements are dictated by a time-based system, with different actions taking up specific amounts of time (called "moments" in the game). Each character has a counter that is moved along a track based on what actions they take, and the character at the back always takes the next turn. This is where the strategy and decision making gets really interesting, as you have to weigh the actions you want to take against how far along the time track you will move, and what characters will act before you get another turn.

The game also has a card and dice-based system to govern both breaking into buildings and talking to non-player characters. You draw a card on each attempt that gives you two choices of possible actions to take, some of which might be easier but force you to act heroic and attract the attention of the bad guys.

Game play is scenario driven, with different board setups and win conditions, which really makes it feel more like a role playing game with no game master than a tactical skirmish game. Tactics usually involve sneaking around trying to avoid a fight rather than all-out combat, and the goal is usually to escape the board with an objective instead of just defeating all opponents. There's even a campaign mode where you try to collect as much money and equipment as possible over several games.

One other thing I have to mention is the game's ingenious terrain, a series of small pre-built boxes designed to look like the converted shipping crates that make up so much of the background of the television show. The game box bottom itself is printed to look like a larger building. It's a clever way to introduce 3-D terrain, and also important for a game where staying out of the bad guys' line of sight is often the best strategy.

The only real complaint I have is that the rule book is poorly organized, making looking up rules somewhat difficult during play. As skirmish games go it's fairly simple, but there are always going to be times when you need to refer to the rules.

Rating: 4 (out of 5) A fun, innovative game that feels much more cinematic than most "move and shoot" games, only marred by a poorly organized rule book.