Interview with Jerry Hawthorne

When I began working on Sol Rising, I knew I wanted to make a game with a strong narrative component, more randomness than York (my previous design), and a fun take on scenarios. One of my biggest inspirations is Mice & Mystics, designed by Jerry Hawthorne and published by Plaid Hat Games. 

I’m a big fan of the game, which you can see in my review of Mice & Mystics. When I found out Jerry was taking interviews for the new expansion, Downwood Tales, I immediately contacted him. Here is the result! 

My comments are preceded by HG, with Jerry’s preceded by JH.

Hyperbole Games: For those who don’t know who you are, give us a quick introduction. What makes you tick? What’s something we should know about you?

Jerry Hawthorne: My name is Jerry Hawthorne and I am 46 years old. I have a lovely wife and two awesome kids. I work full time as a busy hair stylist, but I also design board games in my spare time (if you can call it that) as a freelancer. My games are visual, very story focused, family-friendly, and usually involve a healthy amount of luck. That’s just how I roll.

HG: Around 2012 you released a little game called Mice & Mystics that was a huge hit for you and Plaid Hat Games. I finished the first book, Sorrows and Remembrance, earlier this year and it was just a delight. I played it with a friend on lazy Sundays. He’d send me a text and say “bring over Rat Zelda.”

Give us the super quick explanation of what Mice & Mystics is so we’re all on the same page.

JH: Sure. Mice & Mystics is a story that you can play like a game. During the game, you will be playing the role of a human that has been magically transformed into a mouse to escape a treacherous sorceress who has placed your King under a spell and usurped his throne.

Play revolves around completing chapters in a bedtime style story book. As you play, you will also read from the story book and discover the unfolding events which will affect your game. The game was designed to give players a unique experience, and has random elements that ensure no two sessions are the same.

HG: To toss in my perspective as a player to complement your note, in addition to all of that, the game is a light, scenario driven dungeon crawler. Scenarios feature unique, thematic experiences driven by the story and these moments are strung together with a dicey combat mechanic.

Heart of Glorm, the first expansion, came out last year. It’s a great, small box with a few characters and a few new chapters. I’ve heard Downwood Tales is WAY bigger. What can we expect for this new expansion?


JH: The new expansion really adds a lot to the game. You get three new characters: A gecko named Jackobe who is hired to guide your mice through the forest. Ansel, a pure hearted warden sworn to protect the forest creatures. And Ditty, a shrew scamp who strums her magical fiddle to help the party. There are new bad guys to fight and new devious bosses, including an arrogant aristocratic bullfrog and a predatory snake named Hesster

The story is somewhat more involved, with an even stronger emphasis being placed on campaign play. There are branching story arcs and many twists and surprises, but it continues the story of Collin and gang as they are strangers in this new land. The heroes bring courage and correctness to a forest filled with dangers and double crossers.

The box is stuffed with 8 new 2 sided outdoor tiles depicting the forest floor, the burrows and tunnels under the forest, and also the trees and branches where the mice will need to go to traverse the terrain challenges in their path. There are also a bunch of new figures, 60 new search cards, and about 30 new abilities.

HG: Can you comment further on the branching play, perhaps with a tiny example? This was something I sought to do with Sol Rising to try to address the comment that scenario games are only fun once. But, also, I wanted to give players a little agency over their story.

How did you tackle this challenge?

JH: It was very challenging because the story has to come around to the same place eventually. I’ll give an example: At the end of chapter 1, there are two possible outcomes. The story splits and there is a chapter 2a and 2b. There are also two possible outcomes for chapter 2a, one will have you playing 2b, the other allows you to advance to chapter 3.

Wow, that sounds more complicated than it is. Anyway, these were very difficult to write because the events have to feel as though they fit story wise. I think we accomplished it quite well.

HG: As a designer and player I love expansions. They are a great opportunity to explore new avenues. What was the number one thing you wanted to do with Downwood Tales?

JH: With Downwood Tales, I wanted to give the players a more epic story that would seamlessly continue the adventure. I wanted to provide more bad guys with challenging abilities. I also wanted to take cinematic game play to the next level.

In Downwood Tales your party might come to an impassable chasm in the forest. There could be a variety of options the players would need to discuss. Do you go around by exploring to another tile? Do you climb a nearby tree and use a leaf to float down to the other side? Or do you have a wild figure in your party who knows which vines might allow you to climb down into the chasm and continue in the tunnels known as the Underwood?

HG: I really like this opportunity for group discussion. It definitely has that “Lord of the Rings” element of “where do we go from here?” Could you give an example of the more challenging enemies? How did you up the challenge with the bad guys?



JH: Sure! We have frogs that leap around, newts that shoot flaming arrows, fearies that fly and they can curse you, bullfrogs who can zap you with their tongue, weasels that clobber you, and Hesster the snake who is this story’s equivalent of Brodie.

HG: I prefer cats to snakes. Much like Indiana Jones.


Expansions are also a great way to address rough spots or merely improve things that, in retrospect, you wanted to be better. Did you have any of those? Does Downwood Tales really improve something from the base game?

JH: I’m not a person who dwells too much on past failings or tries to use expansions as fixes. Mice & Mystics has resonated with its fans because it is an approachable game that really puts the story first. I wanted to give more of that stuff. The game is the same, the environment has changed for the mice. There are a lot of things to discover.

HG: How did you want to advance the story? Was there anything in particular you wanted to accomplish?

JH: I wanted to tell a story about growing up, rising to your expectations, the weight and responsibility of authority. These are very much a topic in my household, but can be applied to global events as well. As always, the story is light and filled with the same silly humor that you come to expect from jokers like Nez and Filch. But there are tender moments and contemplative moments as well.

HG: I’m trying to estimate the percentage of tenderness that came from Lord Bistro…

You have some really clever story and mechanical moments in Sorrows and Remembrance. I loved gambling with the rats and trying to keep Vurst on my side as we went through the sewers was really neat. Do you have any really cool set pieces in Downwood Tales?

JH: Yeah, this is just something you all can expect from Mice & Mystics. Each chapter will have a completely new and different set of challenges, and not all of them will involve fighting. There is an entire stealth chapter that the playtesters were raving about. There is a “Last of the Mohicans” style ambush chapter that is a lot of fun, and even a race down a babbling brook on boats made from fallen leaves.



HG: I like the idea of the ambush. It’s such a unique element to warfare games often miss. It’s usually just a straightforward fight. Finding ways to spice up every battle is really appreciated.

Different games need different testers. For something like Summoner Wars you want someone like James Sitz who is incredibly analytical and competitive. Mice & Mystics is such an experience though, if that makes sense. Yes, balance is important so it isn’t too easy or difficult, but I feel like you’re testing its soul more than its stats. Have you found it difficult to test the game and find the right people?

JH: For Downwood Tales, I gathered a small group who I call my ‘creative core.’ These guys helped me ensure that the chapters had the same compelling quality as the base game and that they offered a play experience that was cinematic and charming. The second playtest phase involved a huge group of volunteers who put in about 500 tests. This helps balance the challenge level. Some chapters may be harder than others (that’s just the nature of designing around a story), but none of them are unfairly tough.

HG: I spent the past year working on a story-driven tactical game, which was greatly inspired by your work on Mice & Mystics. Working on the narrative in a way that made sense and paired with the game was really difficult. What is something you’ve learned working on Mice & Mystics about story-driven games? What were some of your biggest challenges?

JH: Well, I’m glad you see how tough it is. I really have to say that it was an exhausting, grey hair inducing roller coaster. But I have gotten better at it. The trick is to portion out your story beforehand in equal chunks (chapters) that each rise and fall like an independent story within a story.

As an example, the first chapter of Downwood Tales has the mice traveling from Barksburg to a town called Headfall Hollow, that is located deep in the Downwood. This is rather easy. The story starts at Barksburg and ends at Headfall Hollow. What happens in-between gets filled in like using crayons to color the stuff between the black lines of a picture in a coloring book.

HG: I agree to this approach. With Sol Rising I created mini-arcs of about 3 missions apiece that contributed to the entire story. Thinking about the big points was not too difficult, but coloring in the spaces? Not so easy.

What are some of your favorite games to play? How, if at all, did they inspire you?

JH: Everyone knows I love Heroquest, and that Mice & Mystics was heavily inspired by it. Heroscape also holds a prominent portion of my heart.

Recently, I have had the opportunity to play the finalized version of Dead of Winter. I can’t wait to play it again. It is a game that offers an experience so incredibly close to its aim, that I can’t imagine anybody ever getting tired of it. It perfectly creates the same emotional response from players as you’d expect from a real desperate group survival scenario. Every choice seems so important… It’s blissfully agonizing.

HG: I played an earlier version of Dead of Winter when Colby and Isaac visited San Francisco. Pretty entertaining! The pre-order is still available, actually.

This just occurred to me writing the questions, but would you ever want to create another experience within the Mice & Mystics universe? For example, managing the mouse city and the goings on, or playing the game from the perspective of the bad guys. Would that even appeal to you? Have you thought of something like this?

JH: I’m actually currently working on another game in the Mice & Mystics world. I can’t talk about it yet, but I am very interested in exploring the potential of the Mice & Mystics world.

HG: Excellent! Some of your first design projects were on Heroscape. Mice & Mystics has a similar heft – simple combat, clean abilities, simple movement. What are some of the most important things you learned working on Heroscape?

JH: I learned that theme can be supported with simple game mechanics. As an example, Jackobe the gecko in Downwood Tales uses a boomerang. To convey the odd way that boomerangs work, I wrote an ability for it that allows it to curve around and hit an enemy from behind should he miss with the initial throw.

Simple but thematic, and that is exactly how Heroscape is.

HG: Are you able to comment on when we can expect to purchase, approximately, Downwood Tales?

JH: I don’t have that info yet, but I should have a better guess in a few days.

HG: Anything else you want to add?

JH: I’d like to thank you for taking the time to do this Q&A. Also, thank you for your fantastic blog. I really enjoy reading your thoughts on game design. I find myself needing these perspectives from others who enjoy the thematic game sub-genre as much as I do. Most blogs on game design are directed at the more structured nuts and bolts stuff that I find so dry.

HG: The pleasure is all mine. Thank you so much for taking the time to do this.

An Interview with Ty Franck

James S.A. Corey is the writer of The Expanse trilogy of sci-fi books, beginning with Leviathan Wakes, continue with Caliban’s War (my personal favorite of the trilogy), and ending with the recent Abaddon’s Gate. I recommend these books as strongly as I am able. If you love great stories and characters, read them.

The problem is, Corey doesn’t exist for me to interview. It turns out, Corey is the pen name for a duo of writers, one of whom is Ty Franck. Franck is not only half the writing team for one of my favorite books ever, but he has experience writing for games.

One of my goals for Mars Rising is to create a narrative for two friends to enjoy together. Franck’s experience with both games and stories made him someone I very much wanted to interview.

My questions are marked by Hyperbole Games (HG), with Franck’s responses following (TF).

Hyperbole Games: What do you think of the current use of story in games, print or digital? Have you encountered any that are particularly impressive to you?

Ty Franck: I think digital gaming is experiencing a golden age of storytelling. Gamers have told developers, with their buying dollars, that graphics and game play are less important than a compelling story.

Telltale recently won pretty much every game of the year award there is for a graphically primitive media tie-in game entirely because the game had an incredible story.

My favorite games of the last few years were Dragon Age: Origins, Mass Effect, and Last of Us. All games with strong narratives and powerfully told stories with great characters.

HG: I haven’t yet played Last of Us, but I have played Naughty Dog’s other PS3 titles and I think they are masters of interactive fiction. I’ve enjoyed most of Bioware’s efforts, as well.

The key element that distinguishes games from other platforms (books, movies) is interactivity. Do you personally prefer to experience a game story that is told to you (ex: Call of Duty), or do you prefer to affect and create your own story (The Sims, Skyrim)?

TF: I don’t like sandbox games. Never have. Honestly, after a few hours playing I get bored. I need a compelling narrative to truly engage with a game. If a game tells me I can do anything I want, it has also told me that nothing I do actually matters. Now, if a game can match a strong narrative to a feeling of making important choices, like Dragon Age did for me, then I’m hooked. That’s the perfect structure for making me love a game.

HG: In my prototype Mars Rising, I’m trying to provide some narrative for each scenario to set the scene for the players. What are some of your preferred methods to quickly establish a scene?

TF: Sensory details and familiar situations.

A man walks into his dining room. His wife is sitting at the table, a cup in front of her and the bitter burnt smell of coffee that’s gone cold filling the air. Her eyes are red, her face tracked with tears that have long since dried. She says, “We need to talk.”

Four sentences, a bit of sensory detail, a situation we can all relate to, and the reader will immediately fill in all the bits you left blank with their imagination. No matter how outrageous the setting, anchoring it with the familiar engages the reader. If the dining room above is the galley of a space cruiser, it doesn’t change the familiarity of the moment or the tension of the scene.

HG: That’s fantastic and simple, thank you! One of your main characters in Caliban’s War, Chrisjen Avasarala, is such a rich and hilarious character. What makes a great character for you?

TF: Honestly? It’s pretty simple. They want things. The things they want are hard to get. They work hard to get them, in spite of all obstacles. Along the way, they act like real humans act.

HG: The execution required for that seems quite difficult to pull off, but the guiding note is again, quite simple. Thank you.

You write collaboratively with a partner, which to me doesn’t seem terribly common. Could you briefly describe your process?

TF: Short version is, we plot together, we outline together, we split the actual writing with each person doing half the book, we edit each others work along the way.

HG: You and your writing partner chose a technological level for The Expanse that seems “realistic.” Far more so than the more fantastical technology of Star Trek, for example. Why?

TF: Because we wanted to write stories that focused on the humans, not on the tech. And if the setting is incredibly exotic, it’s easy for the human stories to get lost in it.

HG: Do you have any favorite stories from other mediums that you’d like to see as games?

TF: If somebody figures out how to do a Jack Vance Dying Earth or Roger Zelazny Lord of Light game that respects the original source material, they can have all of my money forever.

HG: I just bought both of these as I realized I’ve never read them. Who knows, maybe I’ll earn all of your money forever?

The Expanse trilogy is full of so many experiences. In Leviathan Wakes (the first novel), we read about shoot outs, limited ship-to-ship engagements, some sci-fi horror, some detective business, and even a love story. Do you have a particular element you would want to play as a game?

TF: We’ve had lots of space flight games, including some great ones. We’ve had lots of SF RPG games. I want to play a game that does both well. I want to fly my spaceship from planet to planet, getting in space battles with pirates, then get off the ship and walk around having adventures. I know for a developer it’s like making two completely separate games, but I’d love to play it if someone does it.

HG: That would be very fun. I have friends who play the new Fantasy Flight Star Wars RPG, but when they are in space they use the X-Wing Miniatures game system.

Do you have anything you’d like to add?

TF: Thanks for the Mars Rising game. We need more space battle games.

HG: I certainly hope I can find a publisher who shares your sentiment! Thank you so much for taking the time to answer these questions.

Writing Flavor Text


Post by: Grant Rodiek

A friend and peer recently asked about writing flavor text for games. We had a brief discussion via email on the topic and I thought it was interesting enough to reprise it as a blog post. For many, the notion of flavor text is best witnessed in Magic: The Gathering. It is a game most of us have played or have at least been exposed to. Most cards in the game have flavor text, therefore, many people assume that their game involving cards needs flavor text.

But, how does one do it? What is key to keep in mind when writing flavor text? I have some ideas I’d like to share.

Why Flavor Text

Flavor text is a hint into the world and grand story of your game. Every game can have a story of sorts, because it excites the players’ imaginations and gives meaning to their actions. An ideal use-case for flavor text consumption is that someone examines their hand of cards while waiting for their turn and notices a few flourishes of text that are interesting and pique their curiosity. It is the slight catalyst that lets them imagine a grander world beyond just laying tiles and rolling dice.

It’s a caption, not a novel.

Good flavor text can encourage investment in the premise you’ve presented. It’s not the only tool at your disposal, but it’s a clever and economical one that may satisfy your literate players. Even better, unless done poorly, it won’t detract from the experience. Those not interested are free to ignore it.

The Execution

One of the first things you need to do is decide the medium by which the text is delivered. Is your flavor text a series of quotes spoken by the characters controlled by the players? Is it a passage from a historical text or law governing the world? First person? Third person omniscient?

You don’t need to be rigid and use only quotes, or only historical passages, but you shouldn’t skip about wildly. Think about your presentation holistically and try to be consistent. Introduce exceptions when they add value. Bad exceptions are distracting and therefore detracting.

To continue on the topic of consistency, this means in style and presentation. It doesn’t mean every character speaks the same way. If you have a blunt Scottish guy and a precise German guy, they should speak differently and exhibit different mannerisms.

You must also be mindful of the tone. Is your game playful? Serious? The text must again reinforce your intent. Be careful with jokes, as they will get old. Instead, create a character who is generally silly. Use sarcasm and subtlety to reinforce “this guy is a joker,” not “So two Rabbis walk into a bar.” One has legs, one doesn’t.

And now I’m thinking about legless rabbis…

Decide what the text is cataloging. Is it a dictation of what is taking place in the game, by the players, right now? Is it a reference to supplemental elements that explain why the players are doing what they are doing? Is it a hint of the future? For example:

  • Fireball: I describe the action of hurling the fireball right now.
  • Fireball: I discuss the power of the fireball, perhaps from the viewpoint of a professor at the school of wizardry.
  • Fireball: I generally describe the use of violent magic, which includes the fireball.

You’ll need to do some worldbuilding to really sell this. No, you don’t need to create multiple languages and tomes of history like Tolkien, but you need to understand your world, its people, and the reasons behind their actions.

I tend to be a fan of worldbuilding. I like creating a narrator of sorts to give hints and roots to the actions players are taking. I don’t personally like to use commentary to narrate the current events. I want players to have the flexibility to tell and interpret their own stories. I think, for the sake of flavor text, you can take the Lost approach and reveal something for which you don’t have an explanation, or don’t intend to explain.

To counter, or at least moderate this point, be aware of the rules for your world. Establish the rules of your universe, such as how magic is conceived, who hates whom, and so forth, and do not break them. If you constantly throw fictional spaghetti at the wall to see what sticks, don’t be surprised to find your players lose interest. If it feels like you don’t care, they won’t care. Therefore, feel comfortable to create without the strictest responsibility to logic, but don’t become wanton.

I don’t often write flavor text for my games, but I try to make my cards interesting. I try to root them to something beyond “move cubes.” For example, all of the ship abilities in Mars Rising now have names tied to the equipment or maneuver. I want people to say “I’m launching countermeasures!” and roll for their lives.

In Battle for York, I’ve seen people slap down cards excitedly and go “Dig in boys!” and it’s because the name of the ability had a very action-oriented verb. The text easily lent itself to their imaginations. They leaned in, which is the sign the text worked. Other things I did for York included writing battle cries for the various factions (a catch phrase) and writing small introductory paragraphs in the rules. I needed to establish a motive, then I let the players tell the story of the war.

In Flipped, I can see myself doing flavor text for the clients. I want to help drive the theme and sense of you building a city for people with needs. I’ll probably have the clients list quotes for what they’re looking for in a home or property. These will be little humorous quips about avoiding bad neighborhoods and their hopes for the future. My hope is that you think “Ah, I’m building a home for a family,” not “Ah, I’m gathering cubes for points.” It’s light, but the text and art should help add a little much needed life to this euro.

Bad Flavor

Many designers seemingly view flavor text as “slap on a quick quote everywhere!” It must be pursued and implemented thoughtfully and with intent. Consider its purpose and presentation at the outset.

Writing is very difficult. A great deal of flavor text is lazy writing penned by someone without experience. You know when you read fan-fic and it leaves you a bit queasy? Bad flavor text does the same. Be sure to take several passes on every piece of text, no matter how short. The proper combination of strong verbs that build the scene and clever diction that reinforces the personalities of the characters is key. It’s difficult to do. Take the time and do it correctly.

Another issue is that the layout and presentation of the text often dwarfs the functionality and intent of the card. Flavor text needs to be subdued, italicized, tucked away, something, so that it’s ultimately an accent, not the prevalent feature of a card. Flavor text is a character actor. It doesn’t get the leading role in a summer blockbuster.

Finally, and this is a pet peeve, DO NOT write “Grrsssaaaaaa!” on an card to represent a beast or dying gasp or battle yell. No! Such things do not add to the narrative or world. You just typed out a sound.

The First Steps

Here are some action items for you to begin building your world and write text.

  1. Brainstorm the world. Roughly chart out its landmasses, cultures, pivotal historic moments, how the magic works, and the reason for the current conflict.
  2. Brainstorm the characters. Who is the protagonist? The antagonist? What is the canonical, over-arching narrative you plan to drive?
  3. What’s the next major action in the world towards which you can hint?
  4. What are some of your favorite works of fiction? How do they tell their stories? Do they use a witty first person perspective? A third person narrator? Begin writing using a voice you both love and with which you are comfortable.

The hope is that, as a result of your efforts, people have more fun when they play. They speak their actions aloud. They lean in and grin, knowing their soldiers (err, cubes) are taking a bold final stand. Use your text to fill your players’ heads with voices (the good kind) and enrich their experience.

Blockade’s Story Development


Post by: Grant Rodiek

Crafting an exciting, coherent story is something very important to me for Blockade. I honestly believe the game can stand on its own without such a feature, but I think the game lends itself to scenario gameplay and therefore, why not try to craft a story? It’s a creative challenge I wish to undertake and a way to differentiate my offering.

RPG gamers will giggle and scoff at my efforts as they’ve been embracing story for decades. But, it’s still not a terribly common feature for many board games. The games I’ve played that incorporate story heavily are:

  • Risk Legacy
  • Mice and Mystics
  • Memoir ’44

All of them do so in a very different way, so before we move forward, I’m going to succinctly break them down.


Risk Legacy’s story is built entirely by the players. The designer brilliantly crafted plot points, laid the foundation, then put it on the players to enjoy it and experience it. YOU are the characters and villains. In the game, when specified events take place, you crack open envelopes that permanently change the world and introduce new mechanics and scenarios. Little fiction is presented in the traditional sense, but it wholeheartedly embraces the notion that the game is an interactive experience and instead of telling you the story, you are the story.

Mice and Mystics is probably the most traditional example of game storytelling out of these three. You control characters who are a part of the story and move through a predetermined narrative path. Now, being great designers, Plaid Hat fills the story with opportunities for variance. You’ll fight different enemies, the dice will cause you to fail dramatically or succeed decisively. You’ll alter the makeup of your adventuring party. My favorite, is that you’ll have epic boss fights, like the appearance of Brodie the cat, or be given side-path opportunities within the mission.


You can see the score sheets and mission trees for Memoir.

Memoir ’44 is an interesting hybrid of pre-determined narrative structure and mechanical variance. The game is historically based, but the historical scenarios could be swapped with the fictional stories of Mice and Mystics. Where Memoir is most interesting is that, like Risk, there is persistence between your missions. Mice and Mystics is largely binary: you move forward or you don’t. In Memoir, your performance will dictate the next scenario in how many extra units you can bring forth, as well as your need to gain more points (play riskily and aggressively) or play it slowly (more conservatively).

For Blockade, I seek to merge a bit of a mix of Mice and Mystics’ narrative style and optional objectives with Memoir’s streamlined, persistent progression. As much as I love Risk, I want to be a bit more heavy handed with my narrative AND avoid the “one time use” component issue (which didn’t bother me as a consumer, for what it’s worth).

Here are the details and style choices I’m working with so far.

  • I will create nameless main characters who have ranks (to recognize them), but no gender or names. My hope is that YOU feel it’s YOUR story.
  • The point of view may alter between sides. Sometimes it’ll be from the perspective of the Martian player, others the Terran player. And perhaps, even other characters, like members of the Jovian Confederation and so forth.
  • Other characters in the game WILL have names. I will try to make you care about them so that if I kill them (from your actions), it means something.
  • Every mission will be designed to be played by two players squaring off, or 2 teams of 2 players. In some cases, I may alter the tuning to be more fun for more players (typically just more Units to control).
  • There will be (hopefully) 2 main campaigns. Each campaign will feature a series of 3-4 short stories, which will be 3-4 scenarios apiece.
  • I intend to design more campaigns over time. Even better, I’d love to work with a community to do so as well (wishful thinking?).
  • When you play a campaign, you will play the designed missions in order.
  • Players can play these short stories individually or full campaigns that tie them all together.
  • Your decisions and performance in previous mission will alter these missions. So, you start with Mission 1, then you’ll play Mission 2a or 2b, then play Mission 3a or 3b or 3c, and so forth.
  • Variations can be pre-defined (you get this many ships because you won) or varied (roll this many dice, for every direct hit, add a gun emplacement to the map). My design goal is to reward you for your successes and add reasons to replay the scenarios. Note I don’t intend to have a runaway leader issue.
  • The scenarios will be made available in a PDF or, depending on manufacturing options, in a book. Players will scan/copy the pages and mark them up to log progress and info as it’ll factor into the campaign.
  • Scenarios will vary gameplay by altering fleet compositions and starting positions, objectives, environmental affects (asteroids blocking sections, hitting ships, nebula scrambling radars), new objects (merchant ships, a ship to salvage or capture, defense platforms, star bases).
  • I’ll be using games like Starcraft and TIE Fighter as inspirations to alter the scenarios in tiny ways. The game will still revolve around blowing up enemy ships, but with simple twists.
  • Setup time will be quick. Place these ships. Place this small handful of environmental things. GO.


I previously sought to create an incredibly open, varied, choose your own adventure style campaign. Unfortunately, this just wasn’t very feasible for a variety of reasons. I wrote the first three missions, which I’ll now edit and modify to work with the new direction. If you want to read them, with the understanding they are works in progress, feel free to do so here!

Read the Current Campaign

Thoughts? Concerns? Questions?