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Found 19 results

  1. "My experiences have taught me that co-op games need a healthily level of uncertainty and hidden information. Co-op games at their heart are puzzles for players to solve, and if there is no randomness then there is always a “best” solution. The more uncertainty there is, the more players are forced to make gut decisions based upon their own knowledge. Hidden information on the other hand is what helps players play as individuals and not be bullied into making group decisions." Bio : Designer américain né en 1982. En 2005, il entre à l'emploi de FFG qu'il quittera en 2019 avec le t
  2. "I try to design games for people and not just for brains. This means that I want my games to be unpredictable or chaotic enough to make impossible any attempts at finding a winning strategy. At the same time, I want them to be challenging, which means that players’ decisions must have a critical impact on the game and on winning odds. This means games with tactics or strategy, but not purely tactical or strategic, games with luck or chaos, but not totally unpredictable and uncontrollable." Bio : Auteur français (il n'aime pas le terme designer) né en 1961. Il étudie en droit, économie,
  3. "It is clear today that many American-style games are using many more euro mechanics but I am trying to approach it differently, bringing rich theme and greater complexity and theme to euro games. In terms of styles, I also prefer indirect interaction: that means I prefer players taking positive actions in the game which help their position rather than actions which directly negatively impact or 'screw over' the other players. This is a far more positive form of interaction – in my view – than games where you just 'attack' other players and destroy their buildings or territories or whatnot."
  4. "Which comes first: a game's mechanisms or its theme? The question started me thinking about theme vs. mechanisms in game design and about what I focus on first. I've come to realize that it really depends on the game — and sometimes they both come first! The mechanisms are the essence of a Eurogame. As a player, that's what I'm looking for — innovative mechanisms. The theme is less important. Even though I play games mostly for their mechanisms, as a designer, I often develop theme and mechanisms simultaneously." Bio : On en connait très peu sur la vie privée de ce monsieur Suchý (prono
  5. "Flow is important. I always look for ways to let players forget that they’re in a game and really immerse themselves in the “magic circle.” That’s why turns in my games typically involve a one or two quick decisions for which you can plan ahead, and I try to avoid using rounds and phases. The other I’ll mention is that while I try really hard to create strong connections between mechanisms and the theme of a game, the most important thing to me is that the game is fun. So if there’s something thematically accurate that is frustrating or boring for players, I’d rather make it less accurate and
  6. "Basically, I want to create tension (that's tension, not stress) by giving the player several choices each turn. Since the choices have to be balanced, in effect there really are no bad choices. There are one or two good choices and then there is the best choice. However, despite there being no bad choices, it is amazing how soon you realize you haven't made the best choice, and how bad your seemingly good choice has turned out to be. This is the other thing I like because it adds to the tension when making the decision. You are trying to select the best choice knowing full well that it will
  7. "For me, it’s important that the theme supports the gameplay, but never at the expense of a clear mechanism. That means that I will never include a detailed rule just to be closer to the theme." Bio : Designer allemand né en 1970. Enseignant en éducation physique et aujourd'hui directeur dans une école secondaire de Gengenbach, près de Strasbourg. Il est l'un des plus grands auteurs contemporains (il mesure près de 2 mètres ). Quelques-unes de ses créations: Notre-Dame (2007), In the Year of the Dragon (2007), The Castles of Burgundy (2011), Trajan (2011), Bora Bora (2013), Bruges
  8. "Je pars toujours d'un thème, essayant de trouver l'expérience de jeu qui lui convient le mieux. Probablement parce que j'ai toujours voulu être conteur... Si j'arrive à raconter une histoire avec un de mes jeux, je suis très satisfait ! Les mécaniques viennent après, ce ne sont que des outils conçus pour servir l'expérience de jeu recherchée." Bio : Designer français né en 1978. Après des études en chimie et en informatique, il travaille comme professeur pendant quelques années. Designer professionnel depuis 2009. Quelques-unes de ses créations : Ghost Stories (2008), 7 Wonders
  9. "There are designers who say they don’t play other people’s games because they are afraid the concepts therein will infiltrate their design. They believe in design in a vacuum. Imagine a world where Steven Spielberg didn’t watch films, Stephen King didn’t read anything, and Stephen Hawking didn’t consider anyone’s science but his own." Bio : Designer américain né en 1963. Docteur en mathématique, professeur puis designer à temps plein à partir de 1994, Garfield a connu la gloire grâce à Magic: The Gathering. Il créa ce jeu à la demande de Wizards of the Coast qu'il avait approchés avec
  10. "You find that when you have been designing for a number of years that there is little mystery left in designing a game. Most German style games fit the same model, you have resources of some kind, you are aiming to convert them into victory points, and you have a set of mechanisms to create decisions in how you convert them. The other common model is the race game. I find I spend most of my time coming up with ways to make players think about how to convert their resources - that's game design in a nutshell!" Bio : Designer anglais né en 1962 au Royaume-Uni. Il a étudié en sciences huma
  11. "Créer, c’est douter. Si on ne doute pas, on ne fait rien." Bio : Designer français né en 1963. Il étudie dans le domaine scientifique des matériaux puis travaillera dans l'industrie sur la mise au point de nouveaux alliages pendant 18 ans. Auteur à temps plein depuis 2004, il a publié plus de 70 jeux et autant d'extensions, souvent en collaboration avec d'autres auteurs. Quelques-unes de ses créations : Shadow over Camelot (2005), Mr.Jack (2006), Jamaica (2007), Cyclades (2009), Abyss (2014), Five Tribes (2014), 7 Wonders Duel (2015), Kingdomino (2016).
  12. "I don’t like over-analyzing in board games because the game flow often will slow down too much. The worst thing which can happen is that one player is analyzing his situation over and over, condemning his fellow players to boredom because there is nothing they can usefully do and think about at the same time. I am happy when games encourage a subjective play style, because not all calculations can be done." Bio : Walther "Mac" Gerdts est un designer allemand né en 1962. Il travaille comme économiste pour l'administration municipale d'Hambourg. Bien que son premier jeu publié date de 20
  13. "Being married is not an issue – we just work excellently together. It’s a big plus that we live together. There is no border between our normal family-life and the game designer-life. We often discuss our ideas while we have dinner or doing some other normal stuff. We always do the creative part together. While Markus is at work, Inka tinkers with the prototypes, writes the rules and corresponds with the publishers during the day." Bio : Designers allemands nés en 1977 (Inka) et 1975 (Markus). Depuis 2006, ce couple a développé plus d'une quarantaine de jeux. Avant de devenir desi
  14. "In the time before Agricola I experimented a lot and tried to invent all the kinds of games that game designers invent. I had a signature style back then too, but a different one. I tried to design card games that played as a single entity instead of having to be replayed over several rounds. Today, I try to design games as a thematic whole. Over my entire career, you could say that I am fascinated by hermetically sealed completeness. I’d rather improve and add variety to mechanisms than come up with brand new ones. In the 1990’s I tested over 100 card games and realized that the mechanisms,
  15. "Originality is extremely important for a new game. The more a new game has original elements, the better it is. Each new game should have at least a new mechanism or an interesting new combination of well known mechanisms. It is much better to start a trend than to follow a trend." -W.Kramer Un spécial cette semaine alors que l'on aborde les jeux de deux auteurs en même temps. Bien qu'ils aient chacuns leurs propres jeux, ils ont collaborés sur tellement de jeux populaires que ce serait redondant de traiter ces designers séparément. Bio de Wolfgang Kramer : Designer allemand né en
  16. "Be patient and enjoy. Take your time. Don’t rush to win in the first play. And be aware that if you really want to enjoy my games, you have to play a second time. I’m honest. If you want to sit down and play a game immediately and then forget about it, my games are probably not for you." Bio : Designer portugais né en 1967. Diplomé en Marketing et Publicité. A travaillé comme directeur artistique pour plusieurs agences avant de se lancer à son compte. Ses trois jeux préférés sont Brass, Age of steam et Caylus. Quelques-unes de ses créations: Vinhos(2010), CO2 (2012), Kanban (2014
  17. "I don’t have the motivation anymore to dedicate so much time in complex games. Nowadays there are so many good gamey games, there’s no need of my contribution. But there’s always a lack of simple games which are anyhow different." Bio : Designer allemand né en 1969. C'est également un enseignant, diplômé d'une université en commerce. De son propre aveu, la grande majorité des ses jeux tourne autour du développement d'une mécanique originale à laquelle il colle un thème quelconque. Quelques-unes de ses créations: The Traders of Genoa (2001), Goa (204), Jambo (2004), Las Vegas (2012)
  18. "When playing a game, the goal is to win, but it is the goal that is important, not the winning" Bio : Designer allemand né en 1957. Doctorat en mathématique. Travaille comme directeur des opérations dans une banque au Royaume-Uni jusqu'en 1997, année où il devient designer à temps plein. Prolifique, il a plus de 500 jeux publiés. Quelques-unes de ses créations: Modern Art (1992), Medici (1995), Tigris & Euphrates (1997), Through the Desert (1998), Samurai (1998), Ra (1999), Lost Cities (1999), Lord of the Rings (2000), The Quest for El Dorado (2017).
  19. "Il était une fois..." se veut une série de sujets discutant des plus populaires designers de notre monde ludique. Pour débuter chaque discussion, je présenterai une courte biographie ainsi qu'une liste énumérant quelques jeux connus de cet auteur. Vous êtes ensuite invités à donner votre opinion sur cet auteur et ses jeux, notamment en classant, du meilleur au pire, tous les jeux de cet auteur que vous avez joués. Je ne vous demande pas de chier un roman comme moi, mais faut que le monde participe si on veut que ça fasse des sujets intéressants (et me donner la "drive" de continuer la
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