How to design a unique game - DevDiary

As a game designer, I always want to create something that has not been invented yet. That makes sense—I believe this is one of the main motivators of our job: we make games that work properly and create experiences. The more original the experience, the more intense the feelings.

However, being involved in the industry, I understand that uniqueness is risky and may result in financial losses. It's a never-ending debate of what's taking over: originality or predictability. Personally, I still believe in innovations and that their presence is profitable for everyone: businesses, creators, and players. Moreover, despite the common "everything is already invented" myth, I find originality a pretty straightforward thing and more than possible to achieve.

In this post, I will share the main principles of designing Cosmic Chains, a tactical dueling card of funny satellites that provide the best internet connection in the Earth orbit. And how we tried to reach originality.

IN SEARCH OF ORIGINALITY

Something is unique when, during your interaction with it, you cannot recall any other exact references. In other words, it gives you a feeling of interacting with something new.

Nevertheless, it seems to me that uniqueness is often confused with genius. Many times, I've heard people giving examples of the most talented individuals in history, trying to prove that everything has already been made by the best ones. And then they interacted with something that was not necessarily genius but yet different: another gaming console (with a newer interface but with almost equivalent functionality), a phone (that works in a very similar way to any other phone regardless of its OS), or another abstract game.

I am sure there is no need for the game to be genius. It might be—or might not be it. Its genius is always hidden and unfolds through time (with the help of players), not on its own. So, working towards genius is counterproductive. If once you achieve it, you will know.

There is a very effective rule of 70/30 that has been used for a long time in business, graphic design, and game design. You may have heard of it. And we use it a lot at Siclen Studio.

The idea is simple. 70% of your idea is based on references, and only 30% includes something never-before-seen. This creates a sense of familiarity and, at the same time, leaves some space for new emotions.

ROLE OF REFERENCES

References may lead to creative impotence, but their lack dooms you to wander in search of your voice. This is true for board game design as well as for any other job.

Board games are not only art but also physical products. There is a high chance there are some competitors out there. Even the best game may not make it to the shelves if you don't take references seriously.

However, references have a function beyond simply encouraging you to play safe. They give you a better understanding of what is missing in the market.

For example, when working on Cosmic Chains, we started with a basic analysis of 2-player-only card games. What was typical for them? Most had thick decks, deck building, or loose control on hand. We kept the best of these games and turned the rest upside down. The decks became very thin and easy to remember; the control on hand, as a result, has become incredibly high (up to 25%).

This technique of so-called reverse thinking has been really helpful and has given us directions all the way along.

HOW IT PLAYS OR HOW IT LOOKS

Of course, board games should look cool on your table. A grey-looking game is rarely played. The classic example of "Terraforming Mars" shows that being different is a good idea. You can judge the game, its gameplay, and its graphic design, but you played it, and it's hard to forget.

Many publishers understand this. The whole crowdfunding sector is built around cool-looking games (many of them are fantastic games, too!). We knew we needed it as well.

Again, after analyzing the market, I noticed that very few games used stackable cards as the main mechanic for open information. And no one tried to place the cards in a long raw (longer than a typical 6-card raw in auto battlers). Very quickly, we realized that not only does it play well, but it also gives Cosmic Chains its unique look.

Of course, we never sacrificed the gameplay to make the look on the table more outstanding. The only exception is our Kickstarter-exclusive Space Station cards, which were added in the first place to stand out of the central mechanic of placing cards in a line.

Much more could be said about Cosmic Chains, but I do not want to sound too pretentious. Let's not forget—it's not a story of success; it's the way we make games at our tiny indie board game publisher, Siclen Studio.

Take care,
Dmitrii Gorbachev