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alright hello everybody as Tom said I'm
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Jamie Anthony's and today I'm going to
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talk with you a little bit about
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narrative paper prototyping this talk is
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going to have three main parts first I'm
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going to be talking about the problems
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that a narrative paper prototype is
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designed to solve sort of why prototype
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for narrative and what a narrative
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prototype is I'm going to talk you
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through a building process how you can
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actually make a narrative paper
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prototype effectively and I'm going to
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finish up with just a couple notes on
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running fixing and using that prototype
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you've created to improve your final
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game first a little bit about me I'm a
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game designer and a writer I'm working
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at Disney I have a great job at Disney
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digital publishing I make interactive
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children's storybooks and apps but
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that's that's my current job that's not
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everything that I've done I've had a lot
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of different sort of made many different
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kinds of games over the years that cover
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a wide range of interests first I've
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made games that allow players to be
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creative with their choices I've been
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really interested in games that create
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positive and lasting player outcomes
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I've worked in games for health and
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games for change I've worked on a few
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games where the focus was to really
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generate powerful and unexpected
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experiences for the player whether
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that's fear as in hush delight and
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happiness is in my work with a mat
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korban Winterbottom or tranquility or
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sorrow or some weird mix of emotions as
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in the game the pond and I've also been
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really interested in games that connect
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players to story in new and interesting
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ways so in this process did as you can
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see I'm sort of interested in games that
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don't fit right into a clear mold I'm
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interested in innovating a little bit
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and to do that I've really turned to
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paper prototyping and I'm huge on this
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concept of paper prototyping as a way to
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make great games so first of all let's
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define our terms
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this is pretty this is pretty basic
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what is a prototype a prototype is a
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mock-up or draft of a potential game and
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it's made to sort of sort of narrow the
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risk of making something that doesn't
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work let's say I wanted to buy a tuxedo
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but I but I'm not sure if it's really
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going to work for me I'm not sure if
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it's going to be if it's going to be a
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good investment
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this shirt is sort of my prototype of a
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tuxedo it is focused so so the tuxedo
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shirt is not focused but um a prototype
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a good one is usually focused on a core
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aspect of the experience I guess in this
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case just this is the core of the tuxedo
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its playable tuxedo is not playable but
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but a game prototype is and it's
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playable so that you know you basically
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want to make sure that people can really
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test it out it's made quickly and it's
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basically a disposable practice run of a
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larger project so here's something that
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you might be used to seeing as prototype
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this is a this is a very common
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prototypes in game it's something that's
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used a lot the digital sandbox
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it's something that game makers use to
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early on determine the game feel you
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sort of put players in a area with not
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much art with pieces of the game all
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over the place and just see how they
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interact with the controls and you
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figure out the moment-to-moment and what
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feels good and that is incredibly
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important but it doesn't tell you
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everything about the experience of a
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game in fact there's a lot that that
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prototype doesn't tell you it really
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focuses on that single moment of first
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contact with the game where you're sort
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of feeling through and excited by this
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notion of oh I can jump and swing my
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sword it's goal free it's free of
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context and it doesn't really address
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this larger experience of a game it
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doesn't address the game's narrative so
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before I go too far into that statement
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I'm going to talk about what's a game
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narrative and I'm sure that there is
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there are many different answers to that
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question in this room since we're at the
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narrative summit but I'm going to take a
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stab at what I think a game Nerra
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is and bear with me for a moment first
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I'm going to sort of point out that
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traditional narrative this is going to
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be very reductive in a traditional
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narrative in books in TV in movies a
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hero is often called to action and
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through a series of events they strive
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to overcome challenges in order to
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achieve a goal and why is this an
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audience really in they really enjoy
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these narratives there you see this form
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this sort of basic structure in all
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sorts of narratives that audiences
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relate to and why because they can step
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inside the shoes of one of it at least
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one of these characters they can
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empathize and suddenly they feel like
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they're they get the rush of that
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they're overcoming a challenge and they
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get the excitement of trying to achieve
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a goal in a game narrative it's a little
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bit like this traditional narrative
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structure that's a little bit different
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as well in a game narrative the player
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is performing the actions that influence
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events and they're learning to master a
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system and rules that you've put in
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front of them to achieve their goal so
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basically a game narrative structure the
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player is the hero and I just want to
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emphasize that because that's really
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important the player is the hero so a
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lot of games take a lot of time to try
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to create an association between an
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avatar and the player they try to make
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you feel like you are this collection of
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pixels you're Mario you're Batman
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you're Qbert but the avatar is not the
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hero
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the avatars story is completely directed
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by an outside force
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it's the player that is chasing a goal
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that's in their head overcoming
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challenges that have a that feel real to
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them there's a player that's taking the
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action if they are the hero of the game
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narrative so now that we talked a little
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bit about game narrative and prototyping
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we're going to talk a little bit about
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narrative prototyping for narrative
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which is not the normal mode of game
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prototyping but it is
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extremely popular and useful in other
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storytelling mediums so in books before
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an author spends months or years trying
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to create sort of write a story they'll
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often go to an outline or to some notes
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because they want to do a smaller risk
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right up to see if their narrative the
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narrative that they plan makes sense
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in film or TV now we have a medium
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that's a little bit more complicated and
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there are a couple prototypes first
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there's a script which is just getting
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the ideas down on the page seeing if the
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ideas make sense in themselves and then
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once you've gotten through that big risk
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you go to the next level of risk does
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this do these ideas make sense visually
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you create a storyboard in animated
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films there are it's an even more
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complex medium there's so many technical
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steps between the idea and the final
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product and basically it's a much bigger
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production so prototypes get even more
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important script storyboard than an
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animatic where you see how it all this
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storyboard looks set up in a camera so
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that you're not wasting time on shots
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that don't matter
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all these all of these narrative
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prototypes addressed huge risks and then
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smaller and smaller risks that these
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elaborate ideas that people have for
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their stories only make sense in their
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head so games as a narrative medium are
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undeniably complex they have everything
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that animated movies have and more you
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have to make all your pieces from
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scratch very often for this very literal
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presentation turn an idea to art and
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sound an animation and logic but that's
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not the biggest risk in your game
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narrative the biggest risk and unknown
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in games is the player so if your
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premise and goals and choices and
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challenges don't make sense to the
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player if they don't line up then you're
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sunk
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because the hero doesn't is not
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interested in continuing on this journey
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so let's put the hero in the narrative
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as cheaply as possible as
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early as we can basically I think it's
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really useful when you're addressing
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this risk of games as a narrative to
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create a narrative prototype a playable
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and flexible outline of the premise the
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rules the events and the choices that's
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made to answer some really fundamental
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question of what's the hero's journey
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for the player do all your pieces fit
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together into a compelling experience
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and does it all make sense so that's a
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big question that's a really heavy
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question to try to tackle and
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architecting something like that
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digitally seems to me at least a bit
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overwhelming because we want this
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narrative prototype to be flexible and
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to be something that the players can
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interact with in a sort of fluid way we
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wanted to have lots of small inputs sort
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of address a bunch of the features that
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you see from your larger game and
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respond to the player intelligently in
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code trying to build a prototype like
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this would be could itself become a
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cumbersome and overreaching mess like
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Matrix Reloaded and but so that is why I
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suggest doing a narrative prototype on
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paper paper is quick and easy and
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disposable it allows for improvisation
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and imagination basically if your game
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is a show starring the player the
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easiest way to get them engaged early is
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to basically create this little
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narrative paper prototype set up a
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cardboard TV essentially and invite them
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inside or put another way make your
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narrative outline as a board game
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so you met one or two of two reactions
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at this point you might be saying oh
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cool okay I'll get started or you might
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be saying okay I have no idea how to do
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that I don't know how to make a
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narrative outline as a game I've done
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this a lot I've done this for a few
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different project and so I'm going to
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walk you through my steps for creating
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for creating a narrative prototype
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effectively the first thing is what you
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want before you get started and this
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this is a set of the things that you
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really need to have before you begin
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prototyping you need an idea
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which is pretty obvious you need an idea
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that you're excited about for a game and
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a willingness to expand it
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second thing believe it or not I would
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say for a narrative prototype is you
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need a deadline and I try to make this
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thing quickly if I can because it should
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be disposable it will change I spend at
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most three days or a hundredth of my
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total timeframe autumn's prototype you
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need some people who are willing to make
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this thing that's probably you and you
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can have someone else work on this with
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you too but I'd say one or at most two
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people should be involved in the actual
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construction of a prototype if you have
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a lot of collaborators that doesn't mean
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that you can't brainstorm and come up
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with ideas beforehand but the people
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that are doing the building you want to
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keep that small because you have such a
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short time frame and want ideas to be
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really pure and clean and you want some
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simple supplies so a couple things that
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are important here little dry erase
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board is can be very useful playing
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cards a couple pieces from old board
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games post-it notes are great because
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they're sticky but not too sticky you
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can move them around but basically most
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of this stuff you're going to either
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have around you're going to be able to
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get when you need it you also based on
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your idea you need some narrative
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reference points at least one game that
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has real similarities to your idea and
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thoughts about its player narrative you
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so this is a game where the premise or
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the mechanics or something is really in
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line and where you are and where you
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played through the game you don't need
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to like the game that your that is your
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narrative reference point but you should
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have thought about what you went through
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as a player in that game so last is a
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second to last is a personal
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storytelling experience and this is a
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little bit touchy-feely but you really
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want a time to look back at a time when
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you felt engaged and empowered as a
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storyteller you want to look for your
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comfort zone as a storyteller and hold
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on to that because you're going to use
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that later for you this may be telling a
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story around a campfire telling a joke
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or to a laughing audience or painting a
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picture but me I always think personally
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about being ten years old and my first
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experience with role-playing games so
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my friends and I didn't have Rule books
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but I made up a pretend world my friends
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made up characters and we rolled dice
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and told collaborative stories that are
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it's still this place of warmth and
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comfort where I feel like anything is
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possible when I think back at that time
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so finally of course you need that focus
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on the central question of game their
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narrative as you go forward and as you
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get ready to make this thing you want to
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keep this about how the premise rules
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and actions come together to create a
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player story you're not testing the
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mechanics the look and feel or the game
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balance that's going to and you want to
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keep in mind that those are not what's
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on the table here so once you have that
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all ready basically my first step is an
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initial write-up I lay out the narrative
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elements of my game these can be notes
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they can be totally informal they only
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have to make sense to you and I'll go
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through these pieces in the order that I
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like to use because this is the order
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that makes sense to me first of all the
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premise this is the going to be the most
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fun part of this write up just go nuts
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write down everything that's exciting to
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you about your game so you know you
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might you might be like oh my game is
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this world where story two where stories
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come to life and there are luck dragons
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and rock writers and empresses write all
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the stuff that you think is really
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exciting but only do this for about 10
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minutes because that will force you to
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stick with the things that you think are
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most exciting and important and it'll
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cut you off because if you don't do this
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you could waste a lot of time just
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writing down exciting things about your
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game before you get to the meat of it
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which is the player the second thing is
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putting the player in that world think
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about a player role does the player
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actually assume a role in the game are
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we going to put them in the shoes of a
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character in the narrative are they
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going to be John Malkovich at how much
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of an identity are we asking them to
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take on here
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or are they really just playing the game
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as themselves this is the second
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question you want to answer the goals of
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the player so what's the carrot on the
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stick what's pulling them through the
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experience so I always go back to
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Scrooge McDuck man Scrooge is so great
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Scrooge loves getting money and you
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might think that that it is his goal
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it's nice it's simple but money itself
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is not his goal his goal is to get all
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this money and then to swim around in a
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huge pile of his own money like most
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players his goal is experiential there's
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an experience that he wants to get out
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of this and your players are going to be
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the same way conflict so what obstacles
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are in the way of that goal in your
00:16:02
story what are the barriers to efficient
00:16:04
victory and when I say efficient victory
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because a player can play your game for
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as long as they are intrigued by it so
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Sisyphus here his goal is to get the
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rock up the mountain and his conflict is
00:16:15
with gravity and for some reason he
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keeps on playing this game it's
00:16:19
compelling to him I don't know why so
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also so then we start to get into more
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of the meat of where narrative comes in
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at player choices jot down the big
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interactive choices and basically this
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is where you want to look at in the
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abstract big picture what is the player
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trying to do or these choices tough are
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they meaningful like deciding whether or
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not to get on that plane
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are they strategic or are they more
00:16:50
tactical is a more a matter of who to
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aim at and who to shoot in a moment
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these are all choices and whether
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they're large or small you want to write
00:16:57
them down and you also want to write
00:17:01
down actions here so actions and choices
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that's a sort of a fine-grained
00:17:05
distinction but think about in terms of
00:17:08
this one-man band his choices are where
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to play and when to play and his actions
00:17:13
are this is player verbs his guitar his
00:17:17
cymbals his his drum kit when he plays
00:17:21
those things those are his playing the
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drums playing the guitar those are his
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verbs resources so this is where you've
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talked a lot about what the player can
00:17:29
do and this is where you draw the first
00:17:31
clear connection between your world and
00:17:33
your player what in the world can the
00:17:36
player use and these these resources
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should be simple to understand if
00:17:39
possible but elegant you know in
00:17:43
monopoly monopoly is you know a little
00:17:45
bit maligned as a game
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but as a resource monopoly money is
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great it's it gives an opportunity to
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the player it provides information when
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you look around and see how much money
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people have compared to how much you
00:17:58
have and it also limits your actions in
00:18:01
a challenging way when you don't have
00:18:02
the money you need so for the final
00:18:04
element of we're going to go for a
00:18:06
little farther into the world in the
00:18:07
story and we're going to outline our
00:18:10
game events now you don't want to think
00:18:12
about this as a formal system of rules
00:18:13
not yet we still want to keep at high
00:18:15
level and think about what sort of
00:18:16
changes are taking place these changes
00:18:19
regular and predictable or are they you
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know are they clockwork or are they big
00:18:24
and dramatic put in biblical terms does
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it rain twice a week in your world or is
00:18:31
there a flood on the way that's going to
00:18:33
hit a tower too these are the things you
00:18:35
want to think about so now that you've
00:18:37
done that you've sort of written down
00:18:40
some elements in this area that crosses
00:18:42
if it's formal and informal you've sort
00:18:45
of laid out narrative elements of your
00:18:47
game and you've thought about how the
00:18:49
player is going to interact with that
00:18:51
world so now it's time to start building
00:18:53
out your story doing this well may take
00:18:56
you back into your write up to make
00:18:57
changes and that's okay but I want to go
00:19:01
through a couple examples of games that
00:19:02
do this well as and a couple principles
00:19:05
that I think really work first of all
00:19:07
when you're thinking about story you
00:19:09
want to think about how you're going to
00:19:10
show the player your goal in journey you
00:19:13
see the mountain with the light and you
00:19:15
don't need to be told to go there you
00:19:18
know if you can make something like that
00:19:20
fantastic give meaning to rules in your
00:19:24
game this is a screen from Dino run
00:19:26
which is a game where you know the rules
00:19:29
are pretty simple you're it's a little
00:19:31
running game and there's a timer that
00:19:33
where if you fall too far behind you're
00:19:35
going to have to restart but Pete but
00:19:39
story was used to really narrative eyes
00:19:42
this goal in a really interesting way in
00:19:44
dinah run an asteroid hits and you have
00:19:47
a wall of destruction this sort of the
00:19:49
extinction level event coming up from
00:19:50
behind you staying one step ahead of
00:19:52
that is much more interesting than a
00:19:54
timer use characters if you can up
00:20:00
people
00:20:00
they see characters everywhere and once
00:20:02
they start seeing characters they start
00:20:04
caring use that characters can be goals
00:20:07
keep Clem safe characters can be
00:20:10
resources in classic JRPGs your options
00:20:12
are for play are personified as
00:20:14
characters the characters can be
00:20:16
conflict now sometimes a character can
00:20:18
work as many many narrative elements as
00:20:20
want which is fantastic like donkey kong
00:20:22
he's a source of conflict I mean he's
00:20:25
holding your goal this damsel in
00:20:26
distress he and but he's also throwing
00:20:28
obstacles in your path
00:20:29
he's also disappearing back up the level
00:20:31
in driving you onwards for a long-term
00:20:33
goal he's such a central part of the
00:20:35
game narrative that even though he's not
00:20:37
the playable character he's not playable
00:20:39
the game is named after him the game is
00:20:41
not called Mario
00:20:42
it's called Donkey Kong because this
00:20:45
character is so key to the understanding
00:20:48
of the story finally you've got your
00:20:52
story events that you've been interested
00:20:53
in the things that happen try to tie
00:20:55
them into the players actions as much as
00:20:57
possible
00:20:58
the things that you know the player will
00:20:59
be doing and that will make them
00:21:02
meaningful so finally now you want to
00:21:06
cut story points that don't do any of
00:21:08
these things that don't reinforce or
00:21:10
showcase goals call the player to action
00:21:12
give them feedback or provide a break or
00:21:14
reward I think I don't have as much time
00:21:16
as I think I do so I'm going to go fast
00:21:18
okay so next drafting the rules
00:21:22
basically when you're figuring out the
00:21:26
rules of the game now that you've got
00:21:27
the elements now do you figure out the
00:21:28
story remember you're playing as the
00:21:29
computer so keep these rules simple
00:21:31
remember you're not testing mechanics so
00:21:34
if you can substitute but you can sup to
00:21:37
do a challenge for another moment of
00:21:40
excitement and test different outcomes
00:21:42
if you can do that that's great
00:21:43
so dice are a good simple way to do this
00:21:47
they may not be the same test that it to
00:21:50
a player as combat but they can provide
00:21:52
that little challenging moment but let's
00:21:54
say you really want to test a player's
00:21:55
skill to some degree all right you can
00:21:57
do that let's say you think it's
00:21:59
important for the game narrative to
00:22:02
basically test their accuracy as a
00:22:05
shooter as a shooter will do so okay
00:22:09
make a little micro prototype put up a
00:22:11
dartboard and make that a little part of
00:22:13
your game
00:22:13
and success or failure can can sort of
00:22:17
depend on where they hit on the
00:22:18
dartboard so rules will be different for
00:22:22
every game but there's one more thing I
00:22:23
want to emphasize you may be simplifying
00:22:25
at actions but you want to keep the
00:22:27
elements of choice strong in your game
00:22:29
or else the player is not going to be
00:22:30
doing anything in this narrative
00:22:32
prototype identify your most important
00:22:34
choice points and figure out what's
00:22:36
behind either door so now it's time to
00:22:40
actually start building and I'm going to
00:22:42
rush through this because it's pretty
00:22:43
straightforward
00:22:43
choose your pieces and use simple
00:22:46
familiar materials as I said before one
00:22:49
quick note don't use anything too light
00:22:51
so you're going to be tempted to draw on
00:22:53
paper and just like make a little
00:22:55
resource that way but once you start
00:22:57
playing these games that's going to go
00:22:58
all over the place
00:22:59
wait it down on something like a coin or
00:23:02
it'll scatter making the board so so if
00:23:07
your final step is setting up a space
00:23:08
that's going to abstract Lee for the
00:23:10
player represent their world or more
00:23:13
accurately their screen this is your
00:23:16
game board and you want it to have
00:23:17
weight you want it to be flexible and
00:23:19
sticky and you want it to have some
00:23:21
simplicity and focus to it as well you
00:23:23
really don't want to over complicate
00:23:24
this with the UI elements that you'll
00:23:26
need down the road just think about what
00:23:28
the player needs in that space so now
00:23:31
we've got a premise a goal a board to
00:23:33
play on resources that the players can
00:23:36
use to achieve their goals choices rules
00:23:39
that create conflicts and opportunities
00:23:40
and events that affect an in-form play
00:23:43
so I know I started a little bit late so
00:23:47
I'm going to keep on going for a minute
00:23:48
or two you guys can obviously leave if
00:23:50
you want
00:23:52
so finalizing your prototype basically
00:23:56
what you what you need to do now that
00:24:00
you've created this formal system so it
00:24:02
makes sense to you is build out your
00:24:03
presentation and this is where you're
00:24:05
using that comfort that comfortable
00:24:07
place that storytelling place that
00:24:10
really makes you feel like you're
00:24:13
conveying a good story arm so so some of
00:24:18
you may be visual or written or some
00:24:20
performative but this is where you're
00:24:22
figuring out how to communicate those
00:24:24
rules and systems to the player you're
00:24:26
presenting that
00:24:28
now that you've done that presentation
00:24:31
it's you're ready finally to start
00:24:33
rehearsing the running of this prototype
00:24:35
phase one run the prototype on yourself
00:24:38
you want to be able to do one successful
00:24:40
solo run if possible but it has to be
00:24:42
possible you need to do a successful run
00:24:45
on your own and just see this as a
00:24:48
conversation between you the the
00:24:51
developer who's made this game and knows
00:24:53
all the rules and you the player who
00:24:56
knows nothing about this game you're
00:24:59
going to find that you missed a lot of
00:25:01
things that's okay you can just expect
00:25:04
imperfection fix those mistakes run it
00:25:07
again
00:25:08
phase two once you've gotten your
00:25:09
successful run yourself do a do a
00:25:12
rehearsal with someone who will love you
00:25:15
even if you totally flub the entire
00:25:18
thing you want to leverage their
00:25:20
patience to work out the kinks in those
00:25:22
presentation elements that you that you
00:25:24
put together and then once that has
00:25:29
worked and you've got that presentation
00:25:30
worked out and you figured out from the
00:25:32
first playtesters this person you love
00:25:34
what is really unclear now it's time to
00:25:37
bring in some people whose opinion of
00:25:39
this prototype really does matter bring
00:25:41
back your conspirators the so either the
00:25:45
collaborators or people whose opinions
00:25:47
you trust and this is pretty obvious
00:25:50
just um just listening to this feedback
00:25:54
oh my right cut off okay um great listen
00:25:59
listen to their feedback and look at
00:26:01
what they enjoyed what's fun frustrating
00:26:02
boring or unclear and adjust that
00:26:04
prototype as you prepare for playtesting
00:26:07
um dipper's did such a good job talking
00:26:10
about plate you know I was so cool
00:26:12
talking about deeper user testing this
00:26:14
stuff is going to be very light I'm just
00:26:15
going to wrap up on this I used to have
00:26:18
a list of questions here I got rid of it
00:26:19
um I will put it up on the GDC volt but
00:26:24
um write down a few questions beforehand
00:26:25
because you won't want to think about
00:26:27
them afterwards you want to write down
00:26:30
questions and also if you can you want
00:26:32
to think about recording the play tests
00:26:34
do video use video if possible but you
00:26:38
need to get permission from play testers
00:26:41
and if you want to improve your
00:26:42
presentation style point the camera at
00:26:44
yourself if you want to improve your
00:26:46
game you're going to learn a lot more
00:26:48
though by turning the camera on someone
00:26:50
else so playtesting it's I'm just going
00:26:53
to sort of roll through that because
00:26:54
that's super basic stuff about what it
00:26:57
means to play test and but the real
00:26:59
important thing here is this is not a
00:27:01
scientific play test it doesn't matter
00:27:03
if your variables are all super clean
00:27:06
and your thing and every all your ducts
00:27:08
are lined up in the road this is
00:27:09
something that you this is a crucible a
00:27:10
trial by fire to make your game better
00:27:12
so you can improvise if if you're you
00:27:16
listening for choices from the player
00:27:17
allow them to skip things but that you
00:27:20
believe they could skip and if they have
00:27:22
a smart suggestion if they want to grab
00:27:23
the mic and say hey this is what I want
00:27:25
to do incorporate it into your play just
00:27:28
let it happen
00:27:29
and see if it improves the game as long
00:27:31
as it doesn't seem like it's going to
00:27:33
mess up the game too much but whatever
00:27:34
you do in those play tests just note it
00:27:37
so that you know so that you have a sort
00:27:41
of log of those changes so people are
00:27:44
polite so have a third party ask
00:27:46
questions for you and also set aside
00:27:49
time to review again another really
00:27:51
basic thing so almost done here so once
00:27:56
you've got all that you've got play test
00:27:57
notes and you want to look at the
00:27:59
biggest problem with your prototype is
00:28:01
the goal unclear is it too hard is it
00:28:04
they're dead ends and the game players
00:28:06
are just not that awesome this prototype
00:28:08
that's the nice thing about the fact
00:28:10
that you made this thing in three days
00:28:11
it's disposable figure out some bold
00:28:16
solutions to your problems
00:28:17
discard kill your darlings and try again
00:28:21
so when you finally achieve something
00:28:24
that feels like a narrative outline that
00:28:26
is interesting and exciting to players
00:28:28
there's a couple ways you can do it go
00:28:30
you can expand that prototype you can
00:28:33
generalize because you're going to learn
00:28:34
a lot from having someone run that
00:28:35
prototype on you so that's a matter of
00:28:37
getting the rules in sort of a really
00:28:39
formal set up so that you can be a
00:28:42
player of your game which will be useful
00:28:43
later on but you can also use this
00:28:46
narrative outline it's it's sort of this
00:28:47
it if your collaborators and everyone
00:28:50
all feels like yeah this is the game we
00:28:51
want to make this is an extraordinary
00:28:52
production tool
00:28:54
you can bust out into asset lists in to
00:28:56
think about the animations and all the
00:28:59
pieces that that you were sort of need
00:29:02
to create as part of this game and then
00:29:04
you're also going to see some areas
00:29:06
where this narrative obviously where the
00:29:08
narrative outline this paper prototype
00:29:12
you made really hasn't um where it where
00:29:16
it's really not addressing issues so
00:29:19
then shift your focus maybe it is now
00:29:21
time for that digital sandbox so go back
00:29:25
and prototype the next big question in
00:29:27
your game so that's all a lot of stuff
00:29:30
it's a lot of work even though it's
00:29:32
disposable and quick it's a lot to do
00:29:34
why do I go through this process why do
00:29:36
I think about it this deeply basically
00:29:39
because a narrative paper prototype is
00:29:40
going to help me save time and money it
00:29:42
helps me see if my premise rules and
00:29:44
choices are compelling to see if the
00:29:46
piece if the pieces fit together
00:29:47
coherently it helps me form a shared
00:29:50
vision of this whole game with my
00:29:52
collaborators as early as possible it
00:29:54
shows me of course the players
00:29:56
perspective but most of all because it
00:30:00
can turn early development which can be
00:30:02
very difficult and unsure into a fun and
00:30:05
empowering experience thank you
00:30:18
you
