The Process Behind Creating a Board Game: From Problem to Play
Here’s how I approach the process of creating games when it comes to an industry I know well: travel.
1. Starting with a Real-World Problem
The first step is identifying a problem within the travel industry I’m familiar with. With over 20 years of experience, I have a deep understanding of the challenges within this sector. I look for problems that are complex but can be distilled down to their essence.
In the travel industry for example, optimization issues are a constant—whether it’s managing routes, revenues, or cost. The challenge is to simplify these complexities into a core concept that can be translated into a fun game mechanic. Once I’ve found a problem worth working on, I start brainstorming ways to capture that core concept. (For example: in Low Cost Airline Manager, it's all about network planning optimization and pricing.)
The board game mechanic (trick-taking, worker placement etc etc) is not something that I consider consciously. They are there to serve the theme, and the mechanic will arise from the implementation of the real life problem. I never know what mechanic will be the best representation of the real life problem, until further down the line.
2. Narrowing Down to Core Mechanics
Once I’ve identified the central problem, the next step is to refine it. It’s important to strip away unnecessary complexity and focus on the most important elements. The goal here is to create a mechanic that is fun first—something that makes players engage and enjoy the process of problem-solving without feeling overwhelmed. The goal I pursue is to give players meaningful choices on every turn. There shouldn’t be only one way to play “perfectly.”
For instance, if the issue is optimizing a network, I might think about how players can manage limited resources (like aircraft time) to maximize their outcomes. From there, I refine the rules to ensure the core mechanic is engaging and offers room for strategy (thinking ahead) and player interaction (adjusting to other players’ choices).
This is where playtesting starts—trying to see if players have fun playing, which parts are enjoyable, which are tedious, and whether they’ve found any loopholes.
3. Building the Game Around the Mechanic
With the mechanic in place, it’s time to start building the game around it. This is where the components come in: what pieces, cards, boards, or tokens will best reflect the mechanics? The goal is to find components that complement the gameplay and enhance the player’s experience.
Each piece needs to serve a purpose. If you’re managing an airline, for example, you might use aircraft-shaped tokens to place on a board. These elements need to feel intuitive to players, enhancing the flow of the game without introducing unnecessary complications.
The second round of playtesting starts here, trying to see if players associate the components with their role. Do they help immerse players in the theme or do they add cognitive load?
4. Balancing Cost and Production Complexity
Now comes the practical side of the process: production. It’s essential to think about the cost and complexity of manufacturing. The components must be functional but also affordable to produce. I often find myself adjusting the complexity of the components or simplifying the design to keep costs manageable without compromising on gameplay quality.
For example, using cards is often cheaper than tokens. This stage is a balancing act of keeping the game fun and engaging while ensuring that it remains feasible to produce at a reasonable cost.
5. Refining the Game and the Art
Once the game mechanics and components are set, the final part begins: adding the art. The visual aspect of a game brings the whole experience to life. I start adding art on top of the mechanics and components to immerse players in the theme. The artwork helps to set the tone and reinforce the game’s narrative. It also gives some flair to the theme. I may choose to be playful (Low Cost Airline Manager), 70s-style (upcoming Resort Hotel Manager), or whimsical (Boutique Hotel Manager).
The art helps bridge the gap between abstract mechanics and the theme of the game, making it more engaging and visually appealing.
⚠️ Important note about the use of AI:
I cannot draw myself—it would take me years to learn and I may never be good at it—so I need help to create visuals.
I adhere to the core concept of agile development, where you get something working quickly, show it to users, get feedback, and iterate. Using AI for art has made my process of iteration and refinement fast—something that is impossible to do efficiently with a human designer. It allows me to quickly experiment with different styles and compositions until I find the right balance that fits my vision. More importantly, it gives me a way to express my personal view in the artwork.
I prefer not to work with a designer if the process involves me dictating exactly what I want them to do, pixel by pixel. It is time-consuming and demeaning to the human on the other side.
For my games, I want the visual style to truly reflect me—my tastes, my aesthetic. AI provides the tool for achieving this, giving me the creative control I need to make my games look exactly the way I envision them. And that's how I want to kick-off this new venture.
It is more than cost-saving, and definitely not about seeking the lowest effort. It’s about getting feedback faster and making my games.
If Papaeya ever becomes too big for me to handle alone, I’ll find someone whose vision and sensitivity I admire—even if it's different from mine. I’ll onboard them with the goal of letting them bring their own personality to the games. The games won't be my games, but our games. They will take longer to make, but they will have a stronger character and surely a stronger appeal overall.
6. Final Adjustments and Playtesting
After finalizing the components and adding the art, the last step is to go back to playtesting. Here, I focus on seeing how the interaction works between mechanics, components, and art. Often, I'll make small adjustments to fine-tune the gameplay and ensure everything works seamlessly.
It’s crucial to observe how the game flows, how players interact with the components, and whether the game remains fun throughout. If adjustments are needed, I tweak the mechanics, revise artwork, or rethink certain components to ensure the game feels balanced, enjoyable, and ready for production.