DRAFT – made public to shame me into finishing…

This is a prototype game concept using a standard pack of 52 cards plus 2 jokers, for 5 to 13 players, which can be played during a formal meal.

Introduction

The title is inspired by the tradition of denoting the importance of guests at medieval/tudor dinner tables by the location of the salt cellar. If you were “above the salt” you were important to the host, nobility in favour with the King, etc, while those below the salt were those that had to be invited, poor relations, and so on.

Set up
Saltfoot – one of the jokers is placed on the table to denote the difference between nobility and peasant. For now, place it in the middle.

Cards are shuffled, then turned over until a series of Ace to King (of any suit) are retrieved, which represent the starting origin and current status of the players; known as the status pack. Cards that are not taken out are placed at the bottom of the pack. These are then filtered, depending on the number of players: There is always a King and Queen (representing the Court) and an Ace, Two and Three (representing the People). For more than 5 players, the remaining cards are chosen from outside in (Jack, Four, Ten, Five, etc) and unused cards are removed from play. These cards then become the Status Pack by shuffling and adding the Saltfoot (one of the jokers), which is then shuffled and dealt one to each player, who then shows it to all straight away. If this card is the Saltfoot the player taked another card and keeps the Saltfoot to place in front of them when they sit at table. This will determine, which players start as nobility and which start as peasants; if you are below the salt, then you are a peasant. The extreme cases are when face cards, (King, Queen or Jack) get the Saltfoot, in which case all number cards are peasants, or when the Ace or Two get it, in which case all players start off as nobles. Players then sit in the order of rank:

King at head of table, then in decending number order alternating right, left, e.g

	Jack	Nine	Seven	Five	Three	Ace
King	Court       TABLE	Noble     TABLE	Noble      TABLE	SALTFOOT TABLE	Peasant TABLE	Peasant  TABLE
	Queen	Ten	Eight	Six	Four	Two

	Jack	Six	Three	Ace
King	Court        TABLE	SALTFOOT TABLE	Peasant    TABLE	Peasant TABLE
	Queen	Nine	Four	Two

	Jack	Ace
King	Court   TABLE	SALTFOOT TABLE
	Queen	Two

References

“In French decks, the suits represent the four classes: Spades represent nobility, hearts stand for the clergy, diamonds represent merchants, and clubs are peasants.” —http://poker.about.com/od/pollsquizzesandfun/f/4suitsorigins.htm

“That leaves now the eight and nine to account for and define before we bring this card game to a halt. “Eight” is visitors we fete for the courses which they “ate” when they sat down with us all above the salt!” —http://www.brighthelmstone.net/ken_brown/deck_cards.php

Lesson 11 of the Game Design Concepts on-line course has asked for three game ideas. The constraints are as follows:

1) Create a board game, card game, or tile-laying game  (that is, it must either have a board, cards, or tiles as physical components).
2) You may choose any theme you want, as long as it is original – do not use an existing IP (intellectual property).
3) You may not make a trivia game, or any other game that relies on large amounts of content
4) You may not use “roll-and-move” mechanics in any form.

In addition, add one of the following constraints. This is your choice, based entirely on your area of interest within game design:
* Design your game such that it has a strong embedded narrative that is interactive in some way. You will have to think of ways to tell a story through the player actions of a board game, and how to integrate narrative and game mechanics. If you are interested primarily in RPGs or other forms of storytelling, do this.
* Create a purely cooperative board game for two or more players, so that everyone wins or loses as a team. This is challenging for several reasons. The game must provide systems that are the opposition, since the players do not provide opposition to each other. Cooperative games generally have a problem where a single skilled player can direct all of the other players (since everyone is cooperating, after all), leading to an MDA Aesthetic where most of the players are bored because they are just being told what to do by another player. If you are interested in the social dynamics of games, choose this.
* Make a two-player head-to-head game with asymmetry: the players start with unequal resources, positions, capabilities, and so on… and yet they are balanced even though they are quite different. These games are not so hard to design the core rules for, but they are very difficult to balance. If you are interested in the technical and mathematical side of game design and game balance, try this.
* Create a game to teach any topic that is normally taught at the high school (pre-college) level. It is up to you whether to teach a narrow, specific fact or a broad concept. The challenge here, of course, is to start with a fun game and not have the focus on education get in the way of that. If you’re interested in “serious games” (games that have a purpose other than pure entertainment), then do this project.

So, as we all have to propose three ideas for feedback from other participants, I have decided to pitch ideas for the last three of the above optional constraints. Here they are:

A) cooperative game for two or more players.

SlumCity
Think Simcity meets the Slums. Players have to cooperate to create a viable city block with access to all the required facilities and resources for all. There is no enemy other than bad decisions. Game uses coloured and shape marked blocks to create a Scrabble like flat structure according to rules of play. Each round, one player takes the role of Mayor, to embed the game’s ability to oppose the other players.

B) Asymmetrical game for two.

Cease and Desist
Players each build up products and profits on the basis of hidden or patented IP (coloured shape tiles that are turned over and hidden, or revealed). These products are laid out in connected lines from the start tile. The nasty part is the process of patenting/IP licencing that may suddenly reveal another player as breaking the law. Negotiation/legal phases enable high stakes deals to be done to preserve your own profits.

C) Game to teach a topic

Credit Crunchies
Selling of bad loans on to other banks. How the stupidity all started and how not to do it again in Game form.

Lesson 9 attempted to get the idea of narrative and story into games. Ian Schreiber posed the challenge of making the game Pente into a story mode. For reference, from his blog post, here are the original rules:

Players: 2

Objective:
Place your stones to either create five-in-a-row, or to capture five pairs of your opponent’s pieces.

Setup:
Place a grid-shaped board (you can use a Pente board or a Go board, or make one of your own – try making it 19×19) on a table between the players. Choose a player to go first.

Progression of play:
On your turn, choose a blank square and place your marker in that square. (You can use colored glass stones, or you can just write “X” and “O” on a piece of paper as with Tic-Tac-Toe.) If there are exactly two opposing markers in a straight line (orthogonally or diagonally) adjacent to where you just placed, and on the other side of the two opposing markers in the same line there is one piece of your own, then the two enemy markers are captured. Remove them from the board (erase the symbols if playing with pencil and paper), and put them off to the side to denote that you have made a capture. It is possible to make several captures on a single turn if there are several sequences of two-enemy-one-friendly radiating out from your placement in multiple directions.

Limitations to capturing:
Captures only take place when a piece is placed. It is legal to move into a place that causes an “X-O-O-X” or “O-X-X-O” line on the board, by placing in the middle. In such a case, the inner pieces are not captured.

Resolution:
If a player ever gets five of their own pieces adjacent in a straight line (orthogonally or diagonally), they win. If a player makes a total of five captures, they also win.

The Homeplay was to embed this story into the game without any rule changes.

Backstory: Alien Seed

What is the setting?
Anyone who has read Scott Sigler’s Infected and Contagious novels (or listened to the free Podcasts) will know that this SF Horror universe revolves about a subtle alien invasion through parasites controlling hosts. The game is an attempt to prevent the Triangles from forming in the body of infected victims. One player represents the infection, which from the novel IS sentient, and the other represents the FBI surgeon attempting to stop the alien parasites.

What do the pieces represent?
The player with the Black pieces is attempting to construct a viable alien parasite, which needs 5 connected DNA fragments in a line to signify an entity that is so fully embedded in the host that removal will kill the Human. The player with the White pieces is attempting to construct an effective anti-viral through highly illegal and experimental medical intervention by introducing nanites (tiny biological robots) in the bodies of hosts.

Why are you placing them?
Both the alien and the artificial FBI created DNA segments are being directed intelligently, and see the other as the most major immediate threat. Both nanites and alien Triangles are more powerful when networked. Both can, for a short time, stop the progression of the other. Placement is to stop the opposition or to work on constructing a viable entity to either take over (Black) or defend (White) the host body.

Experience:

Did your story make a difference?
Very little playtesting was possible. However, the players who were familiar with Scott Sigler’s works commented mostly on the abstract nature of the 19×19 board, which did not in any way represent the various body organs or the host at all well.

Did it affect the play experience?
I think that, from limited evidence, the story element did change the strategy of the game, with several players reporting that they spread further, or clustered more, given the idea of infection and response from the story.

Or was it exactly the same as if there were no story at all?
For some players, given the lack of a representation of the human host, the game was indestinguishable.

Analysis:

Why do you think you got the reaction you did?
Sigler fan boys (myself included) liked the idea of this fairly incidious side to the novels, which was only covered in a few small elements of the books.

Do you think it would have been different if you had chosen a different story?
Yes. I think that the idea of nanites and intelligent virii fitted the abstraction well, and could not see how more symbolic story elements could be pulled off.

Lesson 8 of the Games Design Concepts on-line course was intended to investigate types of fun, with the homeplay challenging participants to create a game with the main mechanic being “griefing” (that is, deriving enjoyment from the act of ruining other people’s enjoyment). We had to create just the concept (no rules, etc) for a game built to appeal specifically to griefers (i.e. Bartle’s “Killer” player type).

The Uneasy Edge of Edgy Uneasiness: A Tim Langdell Simulator

Target medium or platform.
Card game.

Number of players: 2+

One player plays the (in)famous Liam Tangdell, who “owns” the word ‘LINE’ and even ‘LINY’. That player’s job is to reap rewards from the sweat and tears of the other player(s). Liam selects a few cards, denoting his dubiously acquired IP. All others play developers trying to make profits from their own work, and attempting to offload legal attacks from Liam and each other. They will play cards to represent new inventions and the economic exploitation of these. The strategy is to keep your head down, while Liam attacks other players, then get so large as to be immune to further attacks, or to licence your own invention from Mr. Tangden, losing a percentage of profits, but surviving as he sets his sights on others.

The target market is game developers of all kinds and ages… Satire is an effective way to deal with dangerous and contentious issues.

Big Push: For each complete layer of a Tower of Cards, the following number of cards needs to be dealt: 3N-1. So, for the first layer, it is 2, adding another layer needs 5, adding another layer requires 8 and so on. Towers are constructed in the usual way: two cards placed / in rows with top cards _ to allow a new layer to be added. The maximum size for a tower is four rows high (2+5+8+11=26 cards or half a pack). Once that is achieved, a new tower will be started with 2 cards, and so on.e

Resolution: The game ends when one player runs out of cards, or when one player must play cards for a “war” but they do not have enough cards remaining in their deck and discard pile. That player loses the game, and their opponent wins.

This is homeplay for Lesson 6 “games as art/art as game” of the free online course “Game Design Concepts”; details available at http://gamedesignconcepts.wordpress.com/

The challenge, in brief was:
“…a choice of designs, based not on experience level… but on area of interest… four options, all inspired by the “non-digital shorts” at the end of the Challenges [course text] chapter [17]:

1. Option 1 (Creating emotions): Design a non-digital game that introduces children to the concept of grief. Post the rules and required components. If desired, also include commentary on how you approached this problem and why you think your game does (or does not) succeed.
2. Option 2 (Persuasion): Modify the board game RISK to advocate world peace. Post your changes to the original rules. If desired, also include commentary on what you were trying to do, whether you think you were successful, and why or why not.
3. Option 3 (Exploring the boundaries of games): Design a game that has intentionally incomplete rules, requiring player authorship of rules during the play of the game in order for it to be playable. Post your (incomplete) rules.
4. Option 4 (Exploring the nature of the medium): Choose a digital game that you consider to be artistic and inspiring. Create the rules for a non-digital version of it. Note how the difference in medium affects the experience; think about what kinds of artistic ideas are best expressed in digital or non-digital form.”

NOTE: I think this might fit under option 3&4 but have put it here as it does have some structure and was inspired by two actual video games, although one hasn’t bee released yet.

This year’s darling of E3 was the much anticipated “Scribblenauts” by the developers of “Drawn to Life” a favourite of mine. The promised freedom of the new title will revolve around how well pre-conceived interactions between thousands of objects have been implemented. The earlier work was VERY linear, but also gave the illusion of freedom by allowing players to design their own avatars. However, these designs had to fit to specific templates to enable the animations to work. So, both games are limited and limitless in equal turns – DS titles, so forgivable – and do something novel. They also fail to deliver on their promise, as all computer rendered worlds will be. Hence, EquiSCRIBBLEum.

Players: 2+

Materials:
Lots of scrap paper, coloured beads, paint, pens, crayons. [Optional scanner, digital camera and printer.]

Play: 
Players take turns creating a character/object interaction; see later for detailed explanation. For the first round, a player is picked randomly. Thereafter, a King of the Hill approach is taken, where other players can challenge the current leader. A successful challenger takes the lead. Unsuccessful challenges mean back to the drawing board – either new object or new ability – before a new challenge is possible. The winner is determined by the current leader after an agreed time or number of turns.

Ok, the gameplay is freeform and totally defined by players, but you should be ok if you’ve followed discussion of Scribblenauts or are familiar with wizard battles:

1. I’m a cat
2. I become a dog
3. I grow spikes
4. I turn into a lawnmower
5. I develop a double jump
6. …

Players have to represent change/status/animation of their character object using whatever method possible. A flick book stick figure transformation; using beads to make a pixel picture of several frames (hence the optional digitisation) showing a high jump for example.

The winner of each challenge is decided by consensus. Whether opponents represent obstacles, combatants, etc, is entirely up to the players, but it is recommended that some story is evolved during play to help seed ideas. The quality of the art is less important than the mental duel.

The transition to non-digital allows a virtually infinite number of options; far more than will fit on a game cartridge! I could also envisage one or more players setting up an environment (level?) for other(s) to navigate. Bordering on a tabletop RPG but the essential element should remain abstract and symbolic, rather than physical.

In honour of my FAVOURITE Computer Game (Arcade), Lunar Lander, and the upcoming 40th anniversary of the (faked?) Apollo 11 Moon Landings, I present…

Eagle Alight – A Lunar Lander inspired board game

Use fuel, Fuel, FUEL to rotate and slow your craft for an “Eagle Has Landed” moment!

Board:
As this is effectively a simulation of gravity, two hex maps are required: One with a small playing piece for the larger wide scale view of the moon surface; the other representing the various landing sites by use of layered colour hexes, with a larger playing piece to represent the ship in close-up. In the interest of best representing the original game, the two boards will be double sided, with one side giving the large scale where the two boards are placed side by side (landscape).

Main Board Left Full size version

Main Board Right Full size version

The Main Board hex map is oriented with clear horizontal rows of 36 hexes with alternate rows zigzagging in the vertical plane. This represents the small bumpiness of the landing area, and allows for a more vector appearance in honour of the original arcade game.

6 Landing Area for the large scale map are marked:

1x – Landing area marked by 6 markers (1 of)
2x – Landing area marked by 5 markers (1 of)
3x – Landing area marked by 4 markers (1 of)
4x – Landing area marked by 3 markers (2 of)*
5x – Landing area marked by 2 markers (1 of)

* denotes that on a coin toss landing “Tails for Wales”  – or rolling 1-3 on a die –  landing here successfully gives a fuel bonus of 50 Fuel Units.

The other side represents a close up view of landing areas (3 to a board), so that the board not in use for the large scale contains relevant representations of small scale landing areas; the board not in use is flipped when the ship gets close enough. Hope that makes sense!

Right Board Back Full size version

NOTE: Only done one, so you can only land on the left hand areas for the prototype.

The Lunar Lander is represented by
[*]a single hex size piece for the ship at long range, with the “down” pointing through a corner.
[*]A tiered hex arrangement for the larger ship in close-up

Two dice are required of different colours to represent the rocket thrust: One is the course control to be adjusted by the player; the other (ideally RED) one will be used randomly, and represents the inaccuracies of fine control.

Dials representing the ship orientation and the power of the thrusters, as well as ready reckoners for applying horizontal and vertical rocket power are needed. Finally, a record of horizontal and vertical speed is required, which uses counters on six 11 hex long lines:

-5|-4|-3|-2|-1|+/-0|+1|+2|+3|+4|+5| Gross Vertical
|-5|-4|-3|-2|-1|+/-0|+1|+2|+3|+4|+5| Course Vertical
-5|-4|-3|-2|-1|+/-0|+1|+2|+3|+4|+5| Fine Vertical

-5|-4|-3|-2|-1|+/-0|+1|+2|+3|+4|+5| Gross Horizontal
|-5|-4|-3|-2|-1|+/-0|+1|+2|+3|+4|+5| Course Horizontal
-5|-4|-3|-2|-1|+/-0|+1|+2|+3|+4|+5| Fine Horizontal

NOTE: Counters for GCF will always be the same sign or zero

Various Dials and Counters needed for play. Includes a first draft larger scale version of the first landing site that was subsequently discarded.

For simplicity, we will be using base 6, so Fine represents fractions (+/-0.[0-5]), Course represents units (+/-[0-5]) and Gross represents the “tens” column. Therefore, the maximum speed of a craft is represented by +5G+5C+5F = 55.5 (b6)
= (5×36)+(5×6)+(5/6) = 210.8333 (b10) changeable in increments of +/-1/6 = +/-0.166

The smallest speed (apart from completely still) will be +1F = 0.166. This will be represented on the small scale map as one hex
The scale for the larger map will be one hex = 1C (i.e. the ship will move one hex in a turn if it’s speed is 0G1C0F

Note: The Gross level of speed shouldn’t really be used, but is there as a warning to the player that letting speed creep up will have dire consequences.

Set up

Put a counter as position 0 for both Gross and Course Vertical and Gross Horizontal
Roll the two dice for Fine Vertical, and Course and Fine Horizontal. Take the smaller from the larger to define starting values.

e.g.
Roll 1 (red) and 6 (white) means your starting Fine Vertical is +5
Roll 3 (red) and 4 (white) means your starting Course Horizontal is +1
Roll 5 (red) and 2 (white) means your starting Fine Horizontal is +3
Roll 1 (red) and 6 (white) means your starting Course Horizontal is +5

Set Counters accordingly.

Set a Counter on the Rocket Thrust dial to 0 indicating no rockets in use at the start.
Set the Rocket Orientation Counter (a lander with protruding flame) to point the fire to the 3 on the right.

Place the Lunar Lander counter with the base pointing to the right (i.e. 3pm) at the top and left most hex.

Rules
“A crash [happened] when the vertical speed exceeds 15 and the horizontal speed exceeds 31.” http://www.arcade-history.com/?n=lunar-lander&page=detail&id=1417

Briefly, each turn on the large map happens like so:
1) Vertical Course Speed is increased by +1 (Lunar Gravity). If this takes it above +5 or below -5 the Gross counter is also adjusted.
2) Vertical and Horizontal Speed is adjusted by the Rocket’s previous power setting (see below for more details).
3) Player chooses what rocket power and ship orientation to use for next turn.
4) Ship is moved according to its Horizontal and Vertical Speed; e.g. a HORZ. Speed of +3C moves the ship 3 spaces to the right, VERT Speed of -1G-3C moves 6 (for the gross)+3 (for the course) upwards (presumably an abort!). Whichever of Horizontal or Vertical is larger is done first. (see details below)
5) If there is a F speed between -5 and -1 or +1 and +5 a die is rolled for both Vertical and Horizontal. If the roll is at or below the value of the F speed an additional space is moved; represents random variations.
6) If during movement the ship hits the Lunar Surface, the player has lost.
7) If near a landing strip, the player turns over the board not in use and switches to the small scale version.

Details for adjustments of speed:
NOTE: Horribly complex and needs simplifying.

Power| All | 1/3 | 2/3
6 | 6C0F| 2C0F | 4C0F
5 | 5C0F | 1C4F | 3C2F
4 | 4C0F | 1C2F | 2C4F
3 | 3C0F | 1C0F | 2C0F
2 | 2C0F | 0C4F | 1C2F
1 | 1C0F | 0C2F | 0C4F

If adding Fs takes it above +5 or below -5 then the Course is adjusted as well.

Details for moving on large map:
When moving vertically down, moving an even number of rows is straightforward, as cells are in line. If moving an odd number of rows, place the ship between the two cells beneath the starting cell. Then apply the random vertical adjust (it may be that an additional row will be moved, removing the problem. If this doesn’t happen, roll a die. If the rocket has Zero horizontal speed, then 1-3 means left cell, 4-6 means right cell (represents buffeting). If there is any speed to left or right, a roll of 1 goes against that speed, 2-6 means the ship is moved in the direction of travel.

Small map movement.
You will see that the orientation for the small scale map emphasises more accuracy for the vertical. The rule for horizontal movement is similar to that for adjusting vertical on the larger map. On this scale map, cells reflect the Fine level; i.e. a speed of +1C+2F vertically will move the ship 6 (for the +1C)+ 2 cells (for the +2F), so the scale is for play purposes 6 times larger. This may prove too hard.

For test purposes, there will be no fuel tally. For playtesting later, a limited fuel supply will be added.

Scoring
“The [original arcade game] scoring system [gave] 50 points for a good landing, plus 50 fuel units as a bonus. A hard landing earned only 15 points, and a crash earned 5 points… The point scores for a good or hard landing [were] be greatly increased by landing on an area with a flashing multiplier, for example 2X or 5X. Thus, a good landing on the very narrow 5X site would give that player 250 points.” http://www.arcade-history.com/?n=lunar-lander&page=detail&id=1417

Landing with a vertical speed greater than +1C5F is a crash.

I think, and hope, that this is enough for play testing as I have run out of time now!

Research (30 minutes):
http://en.wikipedia.org/wiki/Lunar_Lander_(arcade_game) wikipedia article
http://en.wikipedia.org/wiki/Lunar_Lander_(computer_game) more general wikipedia article
http://www.arcade-history.com/?n=lunar-lander&page=detail&id=1417 a REALLY good description of key features of the game; for example, did you know that this was the first arcade game to have an “Insert more coins to keep playing” option?
http://www.klov.com/game_detail.php?game_id=8465 Another write up

http://www.youtube.com/watch?v=uJLmXildv2E Arcade (BEST!) version
http://www.youtube.com/watch?v=8727SlgcJiI 2600 version footage I
http://www.youtube.com/watch?v=bxYP6FRqQYA 2600 version footage II
http://www.springfrog.com/games/lunar-lander/ Passable but slow simulation of the original
http://games.atari.com/arcade.php?game=lunarlander – official Atari simulation

Tools:
I used Hex World Creator http://www.members.tripod.com/rooksnest/academy/geography/geography.htm and MS Paint to create my board. NOTE: It is rather buggy so SAVE Often!!!