Tabletop game designers want to create an enjoyable experience for people – whatever enjoyable means in this context. From that starting point, they create a game that is balanced, flows well and meets the desired complexity requirements, as well as meets other criteria. They may use the skillset of developers to refine everything, and if a publisher is involved, there will be additional criteria that have to be met. However, in this article, I want to focus on enjoyment, what it means and whose responsibility it is to make a game enjoyable.
A hook, as per the dictionary definition, is something that draws you in. In games, a hook can be a number of different things. Often it is something visually exciting, such as beautiful illustrations, amazingly detailed miniatures, realistic resources or some sort of physical component that is integral to gameplay. Hooks can also be an interesting theme, an exciting gameplay mechanism or even the background story behind how a game was made. Certain awards or even the price of a game can be a hook too. Ultimately it’s about finding something that grabs your attention and gets you to take a closer look.
It is always nice to get some positive feedback for the work you do, so winning awards is even more satisfying, especially if you receive one of the many prestigious awards from the industry you work in. So far, the Tabletop Games Blog hasn’t won any awards, but in this article I am not fishing for praise, but I want to look at the many board game awards that are run every year and show how winning an award affects the popularity of a game, what costs may be attached with some awards and what the different awards try to achieve within the industry.
When you look at buying a modern tabletop game, you will have a rough idea as to how much you think it is worth – or you will have some sort of budget in your head that you want to stick to, and which guides you to the sort of games that you think you can afford. Your price expectations will be based on things such as the quantity and quality of the components, replayability and probably also rarity or hotness of a game. Yet, the amount of money you’re willing to put on the counter doesn’t always match the real cost or value of a game and is either too much or too little in comparison.
As the tabletop games industry grows and companies consolidate, lots of independent game designers and publishers, including self-publishers, enter the market space. You would think that these smaller players’ products are of a lower quality because their budgets are smaller, but instead many of these people create amazing games with beautiful components, often made themselves by hand – and I’m not talking just about the finished product, but also very high-quality prototypes.
UK Games Expo 2019 is around the corner now. In just over three weeks, 40,000 or so visitors and over 350 exhibitors will descend on the Birmingham NEC to explore the over 24,000 sqm’s worth of exhibition halls, plus the dozen or so of rooms in the nearby NEC Hilton Hotel and probably other venues. From Friday, 31 May to Sunday, 2 June, the family friendly exhibition celebrates all things tabletop games and offers virtually everyone something of interest. I will be there on the Sunday and can’t wait to see what’s on offer.
Let me start by saying that I completely appreciate the amount of time and effort that goes into thinking of, prototyping, designing, playtesting and developing a game. It takes hundreds of hours of playtest sessions to refine a game and very clever people to create a great game that flows nicely, is balanced and creates the intended player experience. So when people buy a game and change its rules without second thought, they disrespect the designers’ and developers’ hard work, time and effort. After all, your quick and hasty rule changes are unlikely to improve a game that has gone through years of development and been tested by many, many people. Yet, I think there are reasons why you would want to change a game, and I don’t think there is any disrespect to anyone by doing so in those situations.
I joined the tabletop games industry as a blogger only recently (less than a year ago actually) and my journey really started when I visited UK Games Expo in 2018. I had started to work on a little project that I thought might eventually make it onto Kickstarter, and I felt that by attending the event I could do a little research, maybe get some contacts and generally get a better feel for the tabletop games industry and community. I certainly wasn’t disappointed, because the UK Games Expo is an amazing event, and the whole atmosphere is very friendly and welcoming. I would argue that my visit to the expo made up my mind about wanting to do more within this great community – and I knew I had to return for UK Games Expo 2019.
Making a tabletop game takes a lot of effort and a lot of people. Everyone will think of game publishers and game designers, maybe even playtesters. There are also rulebook writers and editors, the manufacturers and distributors, as well as the marketing people, and many more. Who are often overlooked are the illustrators, even though it is their work that for many of us will be in our mind when we think about games.
Inspired by a recent #ThrowbackThursday tweet from Board Game Inquistion I thought it would be nice to write about one of my own game related memories from my childhood. Like probably most kids of my generation, I grew up with all the usual classic tabletop games, or boardgames as they were known then: Monopoly (of course), Game of Life (a friend had that one), Chess (I always lost, until one day), Checkers (when there was really nothing else), Ludo (the dice chucker), Stratego (chess on steroids) and probably a few more.
In my view, the tabletop games community is generally a friendly, welcoming group of people. We seem to know that we are all human beings, and each of us has different skills, experiences, backgrounds, challenges and attitudes. We do our best to ignore stereotypes and prejudices and try to allow anyone join in the fun of escaping to another world, solving difficult puzzles or do whatever constitutes playing a game. Of course, our community isn’t perfect, but I would say the trend is in the right direction. The same is true for modern games, and many designers and publishers are clearly doing what they can to allow more people to join in the fun. There is still more work to be done of course, but again the trend seems to be in the right direction.
The tabletop games industry has been booming for some years now. Back in September 2016, the The Guardian website describes how the Thirsty Meeples cafe in Oxford taps into “[t]he rise and rise of tabletop gaming” (1). In January 2017, the New Statesman website explains “[h]ow board games became a billion-dollar business” (2), and in December 2017 the Financial Review website describes how “the golden age of board games” (3) allows the Draughts game cafe in London to benefit from the popularity of boardgames and how the industry grew over time. Even as recently as April 2018, an article on the Bloomberg website (4) says that board game nights are the latest way to network. So the boom clearly continues, and it has made me wonder if small players, be they game publishers, designers or developers, rules writers, content creators, game cafe owners or games group or exhibiton organizers, still have a role in the industry.