Find your Smeech

I've had a very creative few months and in them, I think I've done some of my best creative work. By creative, I specifically mean idea generation and the more conceptual side of design. This is the aspect of design with which I struggle the most, as I'm a stronger developer by nature. It has been a fun few months. I think we can all agree it feels good to improve in an area where you are weakest.

A great deal of my efforts have been spent on Draftaria (the development side of my brain is busy with Mars Rising), which is an idea that entered my consciousness as Drafty Dungeon and has evolved constantly. I just passed the stage during which I create my goals for the game. This is one of the most important milestones for each of my designs.

When I decide upon the goals for a game, they aren't set in stone, but  I tend to stick to them. My goals focus on a mechanic I want to use, an experience I want to provide, or a demographic to whom I wish to appeal. For Farmageddon, my goals were to make a highly interactive and short farming game that was better than Farmville. For Battle for York, my goals were to make a war game that didn't use dice, played in approximately an hour, and played with more than 2 players.

For Draftaria, the first goal I decided was that I wanted to have a strong focus on drafting. It's a mechanic I love and one I've long wanted to use. Drafting is so beautifully simple; pick a card and pass. It really pairs nicely with my current obsession to create simpler games. I very much want to grow this hobby and one way in which I can contribute to that is to craft more accessible games.

Another goal is that I wanted to design a game with a strong sense of adventure. Originally, this was a dungeon crawler. Then, a sprawling, Skyrim style epic. Now, it's a little bit of Zelda, a little bit of Harry Potter, and a dose of goofy, wandering fantasy. It should present you with a sense of discovery and magic and a world a little outside your control.


I realized I wanted something lighter, sillier (but not a joke), and more colorful. I'd rather have the world of Pandora from Avatar than the cover of a heavy metal album.


The third goal, and the topic of this post (at long last, the crowd rejoices!), is the third goal. Lately, I've been completely focused on creating more thematic, story-driven experiences. This is not a "design theme first" argument, I'm merely noting that it's more and more important, to me, that the end result of my designs is a strong theme. I also want players to enjoy a story together. No, it isn't a story-telling game, but I want the mechanics to drive exciting, memorable moments.

I think we can all agree that the preceding paragraph is a pile of cliches. Yes, it's true. But, nonetheless, it's a goal. I'm willing to decrease the strategy required to play and encourage players more to do things that seem cool, or exciting, or interesting. I want to reward a little risk and exploration. Calculation be damned. Those are conscious philosophical decisions I'm making.

I really cemented this decision recently when I was in the shower, a place of great creativity for me. Ladies. Without really thinking about it too deeply, I found myself carrying on a conversation between two characters aloud. One character stood out, and I began conceiving mechanical and thematic ideas from him. His name is Headmaster Smeech, and he will be players' first experience in the game.

I realized that I wanted Smeech to teach the game to my players, which means I needed to violate a rule I hold most dear; don't mix flavor and instruction.

If you've ever received rules feedback from me, there's a strong chance I left a comment about unnecessary flavor text within your rules. Because, as I probably noted, rules are meant to concisely instruct. I still agree with this, but I challenged myself to craft a rule set that is fun, compelling, and instructive. It's an El Dorado, for sure, but one should challenge himself for every new design, yes?

Can my rules begin your story? Can they teach you how to play the game and introduce you to the world? Can they set the tone and put your hearts and minds in the right place?

Obviously, the rules are just the initial experience, but I've found writing them as Smeech (and his assistants) to be incredibly instructive for my design efforts.

I'm deep in the midst of that uncomfortable, prickly, sun bleached creative gulch where I have about 3 out of 5 big questions for the game mostly answered (sort of). But, the last questions are really difficult and were they multiple choice I would have probably just answered "C" at this point. Plus, even though the answer to Question 2 was "Cards," I still have to make all of those cards. Really, question 2 is about 100 small questions.

I tire of this metaphor. The summary is that I'm almost there and I'm resolving my difficulties with the help of Smeech, a crusty old wizard who resides in my head.

sword-in-the-stone-5 Merlin from Disney's 'The Sword in the Stone'

As I write the rules in the character of Headmaster Smeech and explore his character and his world, I find it informing mechanical direction. I wasn't expecting that, nor for it to be fruitful. Ideas are plentiful, but it's finding good ones that's key. I find Smeech helping me design cards, be it their names, function, or types of magic. He knows the ancient arts well.

I find Smeech guiding the level of complexity I want to put before my players. There are times when I find it difficult to explain a rule within framework of the world, so I take a step back and think about it further. How can I make it more intuitive? How can I make it interesting without being complicated? Smeech is, after all, a headmaster, and is used to teaching headstrong young wizards their craft. Right?

The results have been very surprising. One of my two primary mechanics emerged as a result. It should be a nice, refreshing twist on a few established mechanics. The visuals of the mechanic also paint a very clear picture and support the fiction of your role as a player in the world.

The process is fascinating for me. New game, new methods.

A great deal of what I've said is vague and bereft of specific examples. I'm hesitant to reveal too much as too many details are still in flux. They may also turn out to be simply dreadful. Plus, that's not the purpose of this post. The point I'm trying to make is that if you find yourself creatively stuck against a wall or in need of a jolt to your process, consider the following:

  • Place yourself in the world you are crafting and answer the classic questions of a journalist: who, what, where, when, and why. Be it Agricola or Arkham Horror, you can recognize the needs of your setting.
  • Take yourself out of your comfort zone, either by focusing on mechanics or theme first. Either way, try a path unique to yourself.
  • Think about ways you can excite and entice players from the beginning.
  • Consider ways to craft a simple, intuitive experience from the ground floor.
  • Ask how a character in your game would do the things you tell your players to do.
  • Find your game's Smeech.

Who is your game's Smeech? Have you tried any new processes lately? Leave notes in the comments below!


Okay, I'm already interested in trying this game.

Hi Grant!

Lovely, post.
This "Smeech" concept you describe has everything to make Draftaria a great game! I am really looking forward to hearing more about it.

Anyway, I just wanted to say that I have been following your blog for a while and have learned so much about game design. Thank you for sharing all these awesome ideas!


Thank you so much for reading!

I recently acquired The Extraordinary Adventures of Baron Munchausen, and I'm loving this over-the-top competitive storytelling game. It's not for everyone, but for those who enjoy spinning grandiose yarns from the badly frayed end of the rope your friends dangle you from, it's an amazing experience.

As is the book, which gets me to my point. The first 80 pages of the book are the rules explained in character by the Baron himself and the next two pages are the rules re-written in concise, modern language. Some readers will be offended by the though of being made to read 80 pages of winding, bombastic prose when they could just read 2, but—and this is crucial—this game isn't for those players.

I've been tempted to do something similar for Legacy of the Slayer, since it's also a storytelling game. I just haven't found the voice (my Smeech) from whose perspective I would present the game. I suspect that's not actually the right choice for this one, but I'm still mulling it over. One idea I'm particularly fond of is writing the rules as the contents of the book and making the examples, clarifications and expanded thoughts a series of notes and stickies that have been placed in the book, presumably by a previous reader invested in making sense of this ancient tome.

In any case, I'm eager to see your new flavor-laden rules style, Grant.

I can email you something later this week to give you an idea. Thank you for sharing the style employed by the Baron -- that seems to be an appropriate way to do this. I don't see myself writing 80 pages, but who knows? I don't see myself doing this for all games, but this one I'm definitely trying! Email me about Slayer -- I want to know more. Also, I need to mail you Khyber. Doh.