Cole 🔜 UKGE Profile picture
Aug 24, 2020 22 tweets 5 min read Read on X
While chatting with playtesters last night, I happened to find myself wandering through some old Oath files. Since the game is wrapping up now, it seemed a good time to share them more widely.
I also wanted to share them because so much of my design writing is in the middle distance between design and publication.
I rarely stand back and look at the whole process, because I think that this vantage point is probably the one more susceptible to sneaky bits of nostalgia and misrepresentations of process.
That said, that vantage point can reveal useful things too. So, before I jump into an exceptionally busy week helping to get Oath ready, let's look at some old files!
At this point, I have been working full-time on Oath for about 13 months. (That's more than twice as long as Root!) The pictures I'll share come from the August 20th, 2019 kit. This kit was built after a month after I had a major design breakthrough.
Player boards were there from the start. As was the notion of a personal cohort and a set of advisers. The action structure was different and there was also something called alignment which was sorta like an additional suit portfolio not based on cards. Image
So much of the logic of the action structure remains. Learn and Establish got combined to search. Travel and Survey just became Travel. But the cool system for strategic inertia got dropped because it was too restrictive. I'd like to use it in the Reconstruction game perhaps.
The rough size of the deck and archive was almost locked even at this early point. Because of how much stuff I needed all of those cards to do both within the game and the metagame, I was pretty sure about the precise numbers.
One exception were the vision cards which at this point were called futures (in purple). Originally I had separate cards to generate deck friction by making drawing more expensive. I think at some point in late September I combined these two card types into Visions. Image
The actual denizens were considerably more restrictive. Instead of any card being able to be used for trade/muster/etc, I had specific resource icons. I liked this idea in principle but it was just too limiting and needed dropped.
If the cards and player boards were somewhat in line with where the game ended up, the Chancellor was not. At this point he didn't exist at all! Instead, I had different government boards (each for the 4 different Oaths). Image
Each board offered a set of shared rules and restrictions to the current game. I really liked these boards but they had problems. The biggest problem was that they were just too hard for the players to track. There was simply too much going on.
To combat this I made the visions/futures that were paired with each Oath board with very simple versions of that victory condition. I actually liked this quite a bit, but the vision wins often felt too "gotcha" and it wasn't satisfying for anyone.
(Oath's solution to this problem average out the complexity level of the victory conditions and then make the Visions match the Oaths. Though I tried to keep them simple, it can still be hard to juggle since it's a step more complicated than having Pax-like victory currencies.
But, it also gives the game a lot of depth and more fully engages the full card list because card powers can be more specifically oriented towards the different victory conditions without worrying about if that condition might be in play or buried.
Looking at these files now, I'm struck both by how much of Oath existed in that first iteration and also how much of the game just fundamentally didn't work. As we played it in the office, a lot of the early work on development was focused around fixing really basic problems.
I think it's also worth mentioning how bland the cards were at the start. While I had a list of narrative beats I wanted the game to hit, I didn't know enough about the system to design cards that would help hit those beats. Image
In fact, the card list didn't really start coming together till early October. Basically the first 4 months of the game's development were just an attempt to feel out the shape of the design that formed around the project's central idea.
Around that same time--right after I got back from paternity leave for kid #3, the project got officially green-lit by the studio.
Even though much of the design was still in flux, it was proving itself as the sort of project that could be finished and one that had urgency. It made a lot of sense for us, as a studio, to tackle something like it.
Or, as I frequently tell folks who ask about the game: Oath was too expensive and complicated for a small studio to undertake and it was too risky and weird for a larger studio. In other words, it was just the kind of project that could find a home at @LederGames .
Alright, now it's time for me to get back to August 2020 and get this game finished. Have a great week everyone!

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More from @colewehrle

Sep 17, 2023
There are a lot of good ethical and aesthetic reasons to avoid AI Art. But, I haven't seen as many folks talk about the implications for our creative practices. When I read @Charlie_L_Hall's excellent interview, I was stuck most by how creatively bankrupt the whole endeavor was.
One thing that often gets missed in this conversation is the degree to which game making is a deeply collaborative enterprise. Despite this, it's easy to talk about a game's art as simply a coat of paint applied by a professional painter. It's a service rendered and nothing more.
The jump from here to "well, I could just get midjourney or some ethical version of midjourney to spruce it up" is really quite a short hop. So, I thought it might help to highlight how this is precisely the wrong way to think about art in games.
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Feb 14, 2023
Over the past several months, we've been hard at work at #arcsboardgame. The work has been so intense that I haven't had time to write up new design/developer diaries to keep everyone posted. Eventually, I'd like to start doing that again, but here's a 🧵in the meantime.
Arcs has been, by far, the most challenging project I've ever undertaken and I think that's probably true for the studio at large. The game presents steep demands to basically every aspect of how we make games here.
Today, I want to look at one small challenge in the game's campaign design and give you a sense of how the game tangles with it. Let's talk about templating!
Read 31 tweets
Nov 21, 2022
I've been thinking about this piece by @Charlie_L_Hall today. It's a nicely reported article and worth your time. But, I think it also leaves out some important things. 🧵

polygon.com/tabletop-games…
Most everything written about crowdfunding these days always mentions two things: first, that crowdfunding has exploded over the past fifteen years and, second, that there appears to be some burnout--both among creators and consumers for what seems like an endless hype cycle.
Really this is a less interesting point than it seems because the first point helps us explain the second. It's pretty simple really. In the beginning, the culture around crowdfunding and tabletop was pretty small. If you wanted to make money you had to appeal to a wide swath.
Read 25 tweets
May 25, 2022
Today I wanted to highlight the work of two of our previewers who looked at Arcs before the campaign and say a little about the role of previewers in our KS generally. 🧵
It's worth mentioning that the world of KS previewers is...a little goofy. There's a lot of paid-hype people out there and a lot of folks looking for ways to get easy clicks. None of this is even necessarily a bad thing, it's just the nature of that corner of tabletop media.
At Leder (and WGG) we've been lucky enough to not have to rely on those folks. I say "lucky" because, as a a Midwesterner, that kind of self-promotion and hype-generation makes me uncomfortable. I can see the utility but it's not something I want to use.
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Nov 15, 2021
I had a chance to play @Koenigvonsiam's new game, Brian Boru, today. It's really wonderful and deserving of your time. It's also given me a lot to think about, so I thought I'd write a little about the experience of playing it as designer and the idea of originality in design. 🧵
I've been following Peer's work for a long time and adore it. The King of Siam (rethemed these days to The King is Dead) remains one of my most played games. But, more than that, KoS helped me think through some elements in the design I was working on at the time, Pax Pamir (1e).
At the time, Pamir was a mess. The game was caught between two different design schools and I wasn't sure if it was possible to tell the stories I wanted to tell. KoS hit me like a bolt of lightening. It somehow did twice as much in half of the space and showed me a way forward.
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For the past year, I've been working on a new title for Leder Games. It's still got a long way to go, but it's starting to take a very clear shape. Today, I want to share a little bit about what it is and what I hope to do with it. The working title is Arcs.
Arcs started very differently from any other game I've worked on. Normally, after finishing a game, I feel pretty exhausted. But, after finishing Oath, I was filled with all sorts of odd ideas that didn't fit into that game. I wanted to stay in the space but design something new.
At the time, we were working on a space game in the studio. I asked Patrick if I could play around with that setting but using a different design framework. If we liked it, we could use it for his game, or it could become it's own project or do something else.
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