‭PROJECT TODO‬

‭The‬‭structure and order of the submission content‬‭should be as follows:‬

‭ large banner image showing the game board -‬‭YECHENG‬

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‭-‬ ‭Opportunity cards‬
‭-‬ ‭2 dice (1D6)‬
‭-‬ ‭3-6 players‬

‭ ebsite -‬‭Yecheng‬
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‭The game's title‬
‭“‬‭The ‘Great’ Artist”‬
‭A short and succinct‬‭core statement‬‭(one sentence)‬
I‭n “The ‘Great’ Artist”, players embody online artists to create and borrow artworks to‬
‭compete for fame and wealth.‬
‭ board game‬‭trailer‬‭(search for examples on YouTube to emulated), under 3‬
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‭minutes long. The video can be as simple as a TikTok-style video and doesn't‬
‭need to be highly produced. Do the best you can with your team's video‬
‭production skills. -‬‭MASSIMO‬
‭A short paragraph contextualizing the game in terms of similar games you‬
‭drew inspiration from.‬
‭ rom Monopoly, the game was also made to mock some social issues in‬
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‭the first place. This game also has a deck of cards full of various events‬
‭you might encounter. Similarly, the game ends when someone is broke or‬
‭their accumulated asset reaches a certain point.‬
‭ statement of your three-game pillars‬‭(for example: What, How, Why),‬
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‭one sentence per pillar.‬
‭What:‬‭Accumulate popularity and money.‬
‭How:‬ ‭Create and borrow artworks by using Opportunity Cards.‬
‭ hy:‬ ‭The game’s social dynamics and strategic interactions‬‭immerse players in‬
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‭the competitive world of online artistry.‬‭-AMRINDER‬
‭ hematic backstory‬‭(characters, story world, premise of the action, etc.).‬
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‭You are an online illustrator, and there are many illustrators like you striving to‬
‭make a living by sharing their creations online. You all work day and night,‬
‭hoping to accumulate enough popularity and money. Relying solely on your‬
‭inspiration is far from enough. As Wilson Mizner once said, "If you steal from‬
‭one author, it’s plagiarism; if you steal from many, it’s research." So, you turn‬
 y‭ our attention to other online artists like yourself, hoping to be enlightened by‬
‭their artworks. There you stand, with bare hands, dreaming ‘bout how things‬
‭ever end.‬
‭A visual gallery‬‭of all the game components other than the main playing‬
‭board (e.g. cards, dice, pieces representing players, etc.). It is ok to use‬
‭generative AI platforms to produce visual elements for your board game. -‬
‭YECHENG‬
‭-‬ ‭Opportunity card‬
‭-‬ ‭Plastic erasable cards to write on‬
‭-‬ ‭2 dice‬
‭-‬ ‭board‬
‭The Rule Book‬‭(if you are submitting a world-facing website, this can be a‬
‭link to a separate downloadable PDF from the web page). →‬‭Need a‬
‭within-group review for the final posting -CLORIS‬
‭Group meeting log:‬‭this should show minutes and summaries of each group‬
‭meeting (if you are submitting a world-facing website, this can be a link to a‬
‭separate downloadable PDF from the web page). The first page of each‬
‭meeting's minutes is sufficient for this document.‬
‭Playtesting log:‬‭this should show what you learned during playtesting and‬
‭how you revised the game based on insights gleaned (if you are submitting a‬
‭world-facing website, this can be a link to a separate downloadable PDF from‬
‭the web page). -‬‭YECHENG, CLORIS, AMRINDER‬
‭Flowcharts‬‭(please look ahead to the Flowchart lecture in Week 11 for an‬
‭understanding of how these are made) showing the game the primary‬
‭mechanics outlined as a logical structure tree (if you are submitting a‬
‭world-facing website, this can be a link to a separate downloadable PDF from‬
‭the web page). -‬‭CLORIS‬
‭A quantitative analysis‬‭of game balance, showing how probabilities and‬
‭other design factors were used to achieve a balanced outcome (if you are‬
‭submitting a world-facing website, this can be a link to a separate‬
‭downloadable PDF from the web page). For example, in play testing the‬
‭game, you may have made discoveries about probabilities that had to be‬
‭adjusted to make for more fair or interesting gameplay, so you can discuss‬
‭intentional changes made to the quantitative aspects of the game. You can‬
‭also discuss other quantitative items,‬‭such as how long a full gameplay takes‬
‭(e.g. start to win), the average time taken per turn,‬‭ranges of scores‬
‭(high-to-low), probabilities for certain cards to be drawn compared to die rolls,‬
‭etc. Every game will be a bit different, so the goal here is to present a‬
‭quantitative profile of your game, and how you used quantitative information‬
‭in your design process to make a better game.-‬‭YECHENG‬
 ‭ description of the main game Dynamics‬‭(i.e. successful strategies that‬
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‭emerged).‬
‭○‬ ‭Artwork Acquisition and Management‬‭: Players must strategically acquire‬
‭and manage their artworks to build their portfolio and increase their‬
‭assets. Successful strategies involve balancing the acquisition of new‬
‭artworks with defending against potential thefts.‬
‭○‬ ‭Resource Optimization‬‭: Players must optimize their‬‭resources, including‬
‭money, fame, and opportunity cards, to maximize their chances of‬
‭winning. Successful strategies involve efficiently converting resources into‬
‭assets, leveraging opportunities for popularity surges, and mitigating‬
‭losses from theft or unsuccessful ventures.‬
‭○‬ ‭Opportunity Card Utilization‬‭: The opportunity cards‬‭provide players with‬
‭various resources and opportunities, such as stealing, defending, or‬
‭enhancing popularity. Successful players must analyze the current game‬
‭state and choose the most advantageous cards to play each round,‬
‭considering both short-term benefits and long-term goals.‬
‭○‬ ‭Risk Management‬‭: Since theft is a core mechanic of‬‭the game, players‬
‭must carefully manage the risk of having their artworks stolen while also‬
‭taking calculated risks to steal from others. Strategies involve assessing‬
‭the likelihood of being targeted for theft, implementing defensive‬
‭measures when necessary, and identifying opportune moments to strike‬
‭as a thief.‬
‭○‬ ‭Public Opinion and Reputation‬‭: The Public Opinion‬‭Card introduces an‬
‭element of social interaction and reputation management. Players must‬
‭consider how their actions, such as stealing or defending against theft,‬
‭may affect their reputation among other players. Both the artist and the‬
‭thief roll dice, and the outcome determines whether the artist retains the‬
‭artwork or the thief gets it.‬‭-AMRINDER‬
‭A description of trade-offs and dilemmas that emerge in gameplay.‬
‭ rade off:‬‭Players often face decisions between aggressive‬‭expansion of their art‬
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‭collection at the risk of becoming a target for theft or focusing on defense at the‬
‭expense of growth. Choosing whether to create new artworks or "borrow" others'‬
‭introduces a dynamic where short-term gains might lead to long-term vulnerabilities.‬
‭ ilemmas:‬‭A common dilemma arises when deciding to‬‭use a defense card to protect‬
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‭against theft, potentially forgoing an opportunity to gain fame and money. Similarly,‬
‭employing the Rumor Card might protect an artwork but also draws attention, making‬
‭one a more likely target in future rounds. -‬‭YECHENG‬
 ‭ description of how long a typical play session lasts. -‬‭Generally 3-6‬
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‭players, for 6 players we have 6-minute rounds, at least 5 rounds to get to the‬
‭end point of 60 fortune points, approximately 30-minute games. -‬‭YECHENG ,‬
‭CLORIS‬
‭The last part of the submission needs to detail exactly what each team‬
‭member contributed to the project, beyond general ideas or conversation.‬‭A‬
‭record needs to be produced of exactly which game deliverables were‬
‭worked on by whom and by approximately what percentage‬‭, in case a‬
‭dispute arises as to the fair assignment of the grade to each team member (if‬
‭you are submitting a world-facing website, this can be a link to a separate‬
‭downloadable PDF from the web page).‬‭IN PROGRESS‬

‭Your game must be designed within the following constraints:‬

t‭here should be a randomness component‬

‭-‬ ‭Through rolling dices‬
‭there should be a strategy and skill component‬
‭-‬ ‭Knowing when to use which opportunity cards‬
‭there needs to be some kind of background narrative premise/story world‬
‭aspect‬

‭ our goal is a preproduction prototype, which means that it doesn't have to be quite‬
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‭ready to be shipped as a final product, but should be more or less 'good to go' for either‬
‭of the following scenarios:‬

‭ print-to-play game‬
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‭a prototype from which a real board game can be produced‬
‭a prototype for a digital board game.‬