By Fábio Tola
This is one of those questions that always comes up in an interview with a famous author: “In your games, what comes first: the game mechanics or the theme? Is it possible to develop one before the other?”. The first question is usually answered easily, but the second really incites reflection.
Before we proceed, it is important to define what we mean by “mechanics” and “theme” in board games. Mechanics refer to the rules, systems, and interactions that structure the game; they are the foundations upon which the experience is built. Theme, on the other hand, is the narrative, context, and setting that gives life to the game and provides immersion for players. And now, the big question: which of these elements is used as the basis for creating a game?
Regardless of whether you are a novice or a veteran in game design, the starting point is always an intrinsic need to create a unique experience. It is that flash of inspiration, that idea that you consider unique and can be a perfect hook to start creating a game.
Inspiration can come from a variety of sources, such as: reading books, comics, or nonfiction works that awaken the desire to explore a specific world or historical situation. It is also possible that it arises from observing recurring social situations and imagining how to transform them into a captivating game. Sometimes, inspiration occurs during the game experience itself, when you realize that something even better is possible.
OPPORTUNITIES AHEAD!
And for one or another professional author, there are still other frequent hooks that encourage them to create: their veteran eye perceives a market trend. “Look at these Spiel des Jahres finalists! There’s a pattern there to explore!”. It can also arise from the immediate need generated by an order. “We need a party game for two players that lasts no more than 30 minutes.”
That’s why it’s safe to say that first and foremost, the first step for the game is that desire to create an experience for its players. And that experience can be based on a mechanic or a theme.
Even without prior intention, we usually make an initial choice between mechanics and theme to start the creation process. The question that arises at this point is: how can we complement one with the other to ensure that these elements are cohesive? Even with this impression, it is rare for the idea to remain isolated for long.
CASE WACKY RACES, COMBINING MECHANICS, THEME, AND MARKET NEED
Here I will exemplify the process of creating the game based on the cartoon Wacky Races, released in Brazil by Galápagos. The cartoon was a landmark in the childhoods of many people and is full of unusual situations and interactions between the competitors.
Ready. We already have the theme! The next step is kind of immediate: what kind of game would Wacky Races be? A large slice of the consumer audience shares similar memories, and would certainly like to relive them at the tables with their colleagues or possibly introduce them to their children, nieces and nephews, and/or grandchildren.
Because of this, it should be an accessible game, possible to play with children, but not childish, so that a table of adults can also enjoy the game with quick and strategic matches. Quick, simple, a bit of take that, and dynamic in mechanics, noted.
Having miniatures can be one of the strengths in buying the game. Especially large plastic miniatures with all the characters present, including the infamous Dick Dastardly.
But the game gets a bit expensive with these pieces, and for the profile we want, it can’t be too expensive. So the option for other game elements should be as lean as possible.
No dice or other elements that could make the game more expensive, considering at most a deck of cards for each character, after all we want to give the impression that you are playing as Penelope Pitstop, and that she is totally different from the Rocha Brothers (and their Stone Car).
It would already be impossible to use a map for miniatures of that size, so the track should also be made using cards.
This was a slice of the process of creating a commercial game from the theme, and it serves to show that nothing is done in a vacuum. Often some decisions appear in a simpler way when limiting the possibilities in the development of the game, whether physical or dynamic between players, and whether they come from the production of the game or the author’s own vision.
GAMES FROM MECHANICS
On the other hand, starting with the mechanics first and subsequently linking them to an appropriate theme may seem like a more complex challenge, but in reality it only requires a more astute look from the author at themes that could serve their purpose.
In my experience, these games appear almost spontaneously in the testing process. And almost all experienced creators already have a handful of games made up of only mechanics up their sleeves, waiting for a marriage of convenience with the needs of the publishers.
In the end, the key to the answer to the dilemma in the order of things is dedication to hands-on work, rapid prototyping of the simplest ideas, and testing several times to refine the mechanics and theme as quickly as possible, until they fit together harmoniously.
It is worth starting from either side. Passion for the creative process and a clear vision of the experience you intend to provide are essential elements that make this glue happen naturally.
