A God at Sea

MINION MONDAY

 
It’s time for another Minion Monday, and this time I’m going to show you Minion Games’ latest, Tahiti!

Yeah, yeah. Those of you well-versed in Euro-style board games will have seen countless iterations of the “manage some goods at an oceanic locale that also serves as the game’s name” schtick. But where theme often exists as a last-minute coat of paint, Tahiti fully avails itself of the lore surrounding its namesake island. The Tiki aesthetic throughout the game’s art and design is fun right out of the box, before you so much as place so much as a tile on the table. Little touches, like actually piloting a little canoe from island to island as you pick up and deliver goods, makes the specific Pacific choice of setting much more than an arbitrary skinning of the mechanics.

Minion Games once again teamed up with Chuck Whelon for the artwork. As he had for his work on Nile, Chuck really researched the source material for an authentic experience. Well...authentic to the Tiki aesthetic anyway, which like so many things has been host to a bevy of Western exaggerations and extrapolations. Still, any Tiki-head will be well at home at this gaming archipelago.

As we did for Kingdom of Solomon, Venture Forth, and The Manhattan Project, Minion Games is using crowd funding site Kickstarter to help offset costs and drum up interest in Tahiti. But those games were Kickstarted relatively early in their production cycles, with images and videos revealing great games sporting less-than-great prototype graphics. This time, I convinced James that we might have better success showing off a nearly complete product, one with care taken to present it in the best light. So a lot of my work this time around has been specifically for the Kickstarter effort: Custom text headers, fully-realized prototypes, and of course the box shot gracing the very top of the page.

Has it helped? It’s a bit too early to tell, but so far support has been great! The pledges over the first two days have been the best yet for Minion Games. If you would like to secure your own copy of Tahiti, get in your canoe and go! And if you’re at all like me and love to see unique premiums tied to a project, I designed a bag in conjunction with Dragon Chow only available to higher backers. It’s perfect for pulling out the games’ wooden cubes or nestling whatever you desire in Tiki goodness.

Not sure yet? When you back at the $1 level, you immediately receive a copy of the Print & Play version. If you like what you see, you can upgrade to any of the other great tiers, including a dinner with James Mathe — the perfect opportunity to pick his brain about the board game industry!

If nothing else, drop by for the video. Watching James juggle copies of our last two waves of board games is well worth the minute of your time.

Click here for the Tahiti Kickstarter

 “If game publishing doesn’t work out, at least I’ll have a career with Ringling!”

Judging a Book by Its (New) Cover

Those of you who have been waiting for a proper OVA update need wait no more. Here it is, the new cover! (Click to see it in its full-size glory.)

Even though this isn’t final, hopefully you all will find lots to love in the revised cover design. Like the rest of the book, the cover illustration is done by talented Niko Geyer, and you may even notice a new look for Wise Turtle Publishing itself!

The Kickstarter for OVA (previously mentioned here) is slated for late June/July, just in time for the game’s 7th anniversary. I’m still tinkering with the pledge premiums list, so if you have an opinion, be sure to let me hear about it! What sort of things would make you back at a higher level, and what would you pay for it? Gauging consumer interest will be very useful before jumping in the crowd-funding deep-end!

Keep checking by, as I will continue to post OVA updates leading up to the Kickstarter, including a look behind the curtains as I finalize the typesetting of the rules.

The Box and the Hare

Outside of a fleeting flirtation with popularity in the 1980s, rpgs have always been a niche product, a collection of tomes and boxes more likely to be squirreled away in the recesses of some specialized hobby shop than displayed front-and-center in your favorite department store. Still, you’ll see the bigger rpgs, like Dungeons & Dragons, show up in the big chain booksellers, and such games are never-the-less a prominent part of our cultural identity — even if everyone isn’t aware of exactly how to play one.

But in Japan, things are a little different. rpgs may have seen the same brief rise in visibility as they did in the west, with really awesome-looking versions of D&D, Battletech, and other standbys localized for a curious audience, but nowadays Japanese rpgs are lucky to have a tiny space of three or four books in stores. Polyhedral dice are a chore to get a hold of, and besides the venerable D&D, often eschewed in favor of the stalwart six-sider. Suffice it to say, it’s a niche of a niche, to the point where rpgs have to be referred to as “Table-Talk rpgs” to differentiate them from the grossly more popular video game variety.

That’s what makes a game like Golden Sky Stories all the more remarkable. There’s no thriving “story-gaming” culture there, not a slew of diceless rpgs to draw inspiration from, no new-fangled narrative rpgs to be influenced by. It’s a microcosm of rpgs, one largely still in the same boat as our games were 10 years ago. And you'd think a game developed for a much smaller audience may have hit-and-miss production values, especially when you consider that most Japanese webpages look like Geocities came by for a visit and then never left. That’s not the case. gSS is a lovely book, with big, expressive art that brings a rural Japanese town to life. So I’ve tried to be faithful to the original design of the book as I’ve gone about rebuilding it from scratch. (No source files here, folks!)

But still, there are some things throughout the design that seems a little out of place. For instance, the book is split into four parts, seasons, and each section is introduced by art and one of these symbols. You can see the very thematic, almost sumi-e looking paint job behind the character for Spring, right? Looks great!

However, throughout the book, these stark, austere-looking rounded boxes are used for notes and callouts. In a book otherwise so warm and comfy, it seemed inappropriate to me. So I did something about it! Drawing inspiration from the seasonal characters, all of the boxes, tables, and other details have swapped their old rounded-rectangle tool attire for newer threads with rough edges and a more painted look. I think the end result is much more in character with the book, and I can only hope Ryo Kamiya, the book's author, would approve!

For your reading enjoyment, I’ve included an entire spread from the Powers section. The left-hand page features abilities all henge of a given type possess, while recto features optional ones. It’s a neat system, because in order to gain more powers, you have to take the corresponding weakness! The number in parenthesis indicates the amount of Wonder (a sort of story-telling currency) you spend to use that power.

Why the Rabbit, you ask? Well, it only seemed appropriate for today, right? Hope you all have a great Easter!

Nyan Cat: Rainbow Race

I’m ecstatic to reveal the box art for Minion Games’ next title. As a subject near and dear to my heart, I’m so excited we were able to procure the license bouncing off the success of the now sold-out Manhattan Project.

Nyan Cat: Rainbow Race is a “real-time” card game for 2-4 players based on the popular internet meme. Instead of taking turns, players can draw, discard, and play cards at any time. The deck consists of 6 colors: red, orange, yellow, green, blue, and purple, which are shuffled and evenly divided among the players to become individual draw decks. When you draw a card, you may either place it in your hand or play it to your play area on the table. Cards played to the table are organized by color, and the goal is to create the biggest stack of a single color. Players may not have multiple stacks of the same color on the table in front of them at any point in the game. When players feels like their stack is big enough, they can take the whole stack and put it in their scoring pile. If a stack of that color already exists in the scoring pile, the new pile must be at least one larger, and the old pile is discarded.

There is also the Nyan Cat card. This special rare card can be played on top of anyone’s color stack, and that stack immediately goes to the Nyan Cat player’s scoring pile. Managing how big to make your color stacks — to maximize score value but hopefully not attract other players' desirous eyes! — is the core of the game.

Once all cards have been played or discarded, scoring is handled in traditional Knizian manner: The player with the most cards in their smallest color stack is the winner!

Once again, I can’t express how enthusiastic I am about this game. I designed it from the ground up with Nyan Cat in mind and to be accessible to younger players. I only hope the gaming public will find I’ve succeeded! Keep checking by in the coming months for updates as Nyan Cat: Rainbow Race goes through production!

Ode to a Grecian Game

MINION MONDAY

 
Greek mythology: A tried and true lore of ancient heroes, incomparable threats, and completely baffling logic that is the mainstay of our educational culture. But even if Zeus was found wanting of aspirin and birthed goddesses from his forehead in the driest way a textbook knew how, there’s still an ancient power to these myths, a strength derived from thousands of storytellers, each imparting a bit of their own life, and a bit of their own imperfections, as the tales found their way to the modern day. This is truer of nothing than the Greek's epic poetry, and no one has captured the rhythm and lifeblood of an ancient people as Robert Fagles.

I still remember his translation of the Iliad, an old hardback tome, perhaps then new, resting on the coffee table. The cover black, the top of the leaves painted red, if not for all those sturdy souls sent to House of Death, then for a really swell looking book. It was my mother’s, and where Mythology 101 might not have had any love for the Greek gods and goddesses of yore, she imparted a fascination with swift-footed Achilles and his unquellable rage, Lord of Men Agamemnon, Hector, Paris, Helen, and all the tragedies of the war on Troy.

Rage— Goddess, sing of the rage of Perseus’ son Achilles! Lines like this reverberated with me, and it inspired a adoration not just for Greek myth, but of all old epic poetry, from the alliterative Beowolf to the often very redundant Gilgamesh.

But for all its enduring imagery and epic tales, the world of Greek myth feels seldom acknowledged in the world of gaming. Sure, one could dig up that GURPS sourcebook or an aging board game of some nature, but for a mythology ripe with all the tropes we associate with the omnipresent medieval fantasy, it’s a missed opportunity for games both new and familiar.

So when Minion Games head honcho James Mathe first showed me Venture Forth, I was pretty enthusiastic. The bones were there for a game rife with the kind of magic I felt reading the epics, and maybe even such irreverent romps as the 1980s Clash of the Titans. But the prototype itself was bare of theme, a blank slate that could as easily been Tolkien as Homer. Time to crack those knuckles!

As I said, the game symbols used in the prototype given to me were all very generic affairs, with medieval chevron shields and golden trophies. I replaced them with Greek equivalents, sturdy round shields, gleaming gladii, and ancient urns. With proper icons in place, it seemed only fitting to use the most iconic of Greek contributions, the architecture of the period, as my inspiration for the card borders.

After completing the frames, I started to place the work by James Denton into my card sheets. The art was big and bold, maybe even a little over-the-top at times, which felt perfect for the sort of Greek high-adventure we were talking about. But inside my frames they felt encroached upon, constrained. One does not contain such gods of men and creatures of myth! It was then I decided to make the artwork “pop over” the edges. It made the monsters more daunting, the heroes more adventuresome, and all in all just seemed more exciting. Unfortunately, most of the artwork was provided without layers, so this effect took quite a bit of love and care. Zooming in at 600% helps as you're carefully trimming the art away from its original background. The end “coming out at you” result was worth the time. The tiny cards feel that much bigger for it.

For the card backs, I decided to make it stand out from the front art by using traditional “black-figure” imagery from Grecian urns. I drew it myself based on a particular urn featuring god of war Ares and surrounded it with the ornamental details that seemed fitting.

Venture Forth itself is a great game that takes the things you love about an adventure board game, leaves out the trite, trying stuff you don’t, and wraps it in a golden fleece of Euro-gaming standbys that together feels fresh and new. Helping your party of adventurers meet their fated ambitions instead of just killing monsters leads to a very Greek feeling tale, and the amount of depth provided by cultivating paths, hiring new heroes, and overcoming obstacles just makes for a very complete and satisfying package.

If that sounds like the kind of game for you, and you lack the ability to pop it fully-formed from your forehead, make Hermes-like haste to MinionGames.com and score yourself a copy. Ordering directly from us means more of your dollar goes to support the people who made the game possible! That, and you'll get this special Treasure Card, not available anywhere else!

A Game of the Game of the Generals

I was speaking to a friend, the very talented Honoel, about board games when he brought up Game of the Generals. It was one he remembered fondly from his childhood, and the game was noteworthy for being native to his home in the Philippines. Both players had an army of plastic pieces, each unit labeled with a different rank. Each rank could capture any piece of those ranked under it, except the lowest rank, which could only capture the highest ranked piece in the game. This in itself could be a fun diversion, but the twist lay in that these ranks were only labeled on one side, keeping your troops a complete mystery to your opponent. The goal: protect your flag and capture the enemy’s! The game itself is over 40 years old, but I still managed to find a picture of it.

Okay, yes, as it turns out Game of the Generals is a thinly veiled copy of the classic Stratego. It’s not devoid of differences: The lakes that serve as a choke point are absent, the spy occupies the top rank instead of the bottom, and there are no mines or units to defuse them. The game also explicitly calls for an arbiter to decide conflicts instead of revealing both pieces after a capturing attempt. While the idea of sitting through a game doing nothing but comparing pieces for your friends sounds like a great way to spend an evening, I’d be surprised how often this actually happened. The most interesting change, though, is that your flag can move. Instead of being stuck in the space it started, forcing you to protect it and devise a red herring or two, it can navigate the board like any other unit. Moreover, if you manage to reach the farthest row with your flag, as one would promote a pawn in chess, you win the game. It’s not enough to regard Generals as much more than the Stratego-clone it is, yet I find it an interesting variation just the same.

But as I read about Game of the Generals and Stratego, I discovered there was yet another game that shared many of the same ideas. Luzhanqi, or The Army Game, features a similar hidden army you use to protect your flag and capture your opponent’s own. It even has the arbiter mechanic from Game of the Generals. But unlike Generals, it features enough differences that it can’t be wholly considered a carbon-copy. For one thing, there are numerous special spaces, like railroads that allow units to travel long distances in straight lines, and campsites, where no unit may be attacked. It also uses a series of circles and radials to place and move pieces instead of a square grid, even though the end effect is much the same.
While The Army Game's exact origin is unclear, copies from the 1950s prove that it’s at least a rough contemporary of the original Netherlands Stratego in 1949. (For the record, Stratego didn't reach America until 1961, and Game of the Generals was first released in 1970.)

So who copied who? With The Army Game’s history being so hopelessly obscure, it’s hard to say for sure. That is, if it weren’t for the fact another game predated them both. L’attaque was first published in France in 1910 with rules largely identical to Stratego. But what’s really interesting about L’attaque is that the creator is Mademoiselle Hermance Edan.

Yes, you saw that right. A lady. Creating a war game. In the early 1900s. When you consider how guy-centric the war-game and RPG industries were in the 70s and 80s, it’s a fun footnote that such an early example was designed by the fairer sex. Unfortunately, I could find little about her beyond the same handful of sentences regarding her patent filing in 1908, quoted pretty much everywhere that discusses the origin of L’attaque and Stratego.

So you’d think that would settle it. L’attaque and by extension Stratego came first, with The Army Game being a loose variant.

But if you continue digging, you’ll find that all of these games bear a striking similarity to another Chinese game, Dou Shou Qi. Known in English as Jungle or Animal Chess, it is a game that features the same piece hierarchy (albeit with animals instead of soldier ranks) and even two bodies of water similar to Stratego’s own. However, the identity of the pieces is public knowledge, and there are Den and Trap spaces (where pieces cannot be captured and any piece can capture any piece respectively) thrown into the mix. Still, it’s undeniable that this could be a clear influence on L’attaque and in turn Stratego, and many histories of the game state as much. In fact, the existence of Jungle makes it entirely plausible that The Army Game is instead an extrapolation of it and not an offshoot of Stratego at all. When you consider how many special areas The Army Game has, it’s not hard to see dens, traps, and animals evolving into the mechanics of its more modern brother.

Unfortunately, like with The Army Game, information on Jungle’s exact origins and date of inception are not to be found. Due to its fable-y charm with its animal pieces, many people assume it’s an ancient game. However, an exhaustive piece of research on Chinese games, penned by Professor Stewart Culin in the late 1890s, has no reference to Jungle whatsoever. So either the man left a rather glaring hole in his research, or Jungle isn’t nearly as old as it’s often given credit for. If we take for granted Culin didn’t pass out drunk on the fated Chinese Family Game Night where he would have played Jungle, this gives us a period from 1890 to 1910 for Jungle to be created and become popular enough to influence a French game-creator.

While rooting about the web did reveal references here and there to Jungle appearing in 1900, none of these cite any source for such a claim. The earliest concrete date I can find is the 1974 Four Generation's “Games of the World” series of board games. The text there describes Jungle as an “ancient game,” but it’s a statement again with skeptical veracity. While a game would likely exist in China long before showing up around the world, this lack of firm history damages any theory that it formed the basis of Stratego, or possibly even The Army Game.

That is, unless there wasn’t yet another Chinese game to consider. Xianqi, or Chinese Chess, really bears more similarity to traditional chess than Stratego or even Jungle. But, there is a body of water that divides the sides of the board. It only affects a few pieces, but it’s still reasonable to think that this could inspire the twin lakes of Stratego or the rivers of Jungle. But that’s admittedly a stretch —  More likely that Stratego and Jungle have more to do with each other than anything else.

The real answer of the origins of Stratego may be one lost to time. I would love to find hard evidence of a copy of Jungle existing in the early 1900s, but the scope of such research is outside of my ability. For now, I think due credit should be given to Edan and her little game of wars, L’attaque. There is no evidence I can find to support Jungle’s identity as an ancient Chinese game instead of a mid-twentieth-century knockoff, and I think crediting it as many Stratego histories do is a disservice to this female gaming pioneer.

Monster Hearts

Hey everyone! I’ve been a little under the weather, and as an unfortunate consequence this little corner of the web has been left more unattended than I’d like. But expect that to change as we return to regularly scheduled programming!

While I won’t have an honest update for my work on Golden Sky Stories till next week, I did want to share that Otaku USA has an incredible 4-page piece on the book in its April issue. The issue changes over March 20th, so run (don't walk) to your closest newsstand and pick up a copy. Besides netting yourself a fine overview of GSS, including my translated version of the Hitotsuna Town map, you’ll also be supporting one of the last anime magazines still in production. If that’s not win-win, I’ll eat the magic leaf under my hat.