5 Lessons from Catan for Aspiring Board Game Designers

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In 1995, the game formerly known as Settlers of Catan was nothing more than the obscure creation of designer Klaus Teuber. The board game market as we know it today did not exist yet. Catan was the first major hobby board game to come into existence. Even 24 years later, we can still look back at this game and learn lessons from it.

Catan board game

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Catan is pretty straightforward. You create an island of hexagonal tiles, each of which represents a different type of terrain. From this terrain, you gather wood, grain, brick, sheep, and stone. Over time, you build up settlements and roads. The ultimate goal, as with many board games, is to score the most points, which you do by building settlements and cities, having the longest road, and a couple of ancillary functions related to development cards.

From these easy-to-understand game, I can think of five lessons that are incredibly important for any aspiring designers to internalize.

1. Make your game easy to learn so it appeals to a wider audience like Catan.

The most popular modern board games, such as Risk and Monopoly, suffer from many of the same flaws. Chief among these flaws is having a disproportionately high amount of rules overhead. Before 1995, board games typically went one of two ways. They were very simple and didn’t have the level of strategic play which we are used to as modern gamers. Alternatively, they were Byzantine in their complexity and much of this came from the rules. Catan creates complexity from interactions between players and game elements, but not the actual rule set.

The importance of this cannot be understated. Much of what made people roll their eyes at board games made in the twentieth century disappeared when playing Catan. You never felt like you had to study a rulebook to play. The game can be adequately explained in 10 minutes. So many people who were on the fence about board gaming as a whole could play Catan and enjoy it.

2. Make elegant rules so no one has to be a rules lawyer.

Building upon the prior point, because Catan has a simple rule set, nobody had to play the unenviable role of “rules lawyer.” Nobody had to say “um, there’s actually no money on free parking” or “you get to move twice when you roll doubles.” You didn’t have to remember exceptions and oddities. The least intuitive mechanic is probably the robber who steals resource cards from other players when you roll a 7, and to be honest, you remember it when the number is rolled simply because 7 does not appear anywhere on the board.

This is a hallmark of well-made games. Less time spent memorizing and arguing about the rules allows for more time for strategizing. By keeping the rules simple, Catan removed one of the most common flaws from board games and set the bar higher.

3. Resist simple zero-sum mechanics to create a more interesting game.

In general, zero-sum is the default state of competitive board games. Among the many things about Catan that I find fascinating is the existence of trading. In board games, trading is not uncommon. Perhaps it is because trading was a mechanic long before Catan or perhaps it because everybody wanted their own version of “wood for sheep” in the years to come.

No matter what, trading in Catan is interesting because while the game as a whole is competitive, it creates an incentive within the rules of the game itself to cooperate. Anyone who’s taken an economics class knows that trade hinges upon both parties gaining something valuable from the transaction. In Catan, the lumber you provide me may help finish my road and the grain I send to you may complete your settlement. Catan creates situations where coordinating with others is more sensible than acting in pure self-interest.

For modern game designers, my recommendation is that even in competitive games, you find opportunities to encourage players to form alliances. This isn’t always doable, but when it is, it creates a whole new layer to the game.

4. Don’t overstay your welcome.

Catan is not a long game. It seldom exceeds 90 minutes and is usually closer to an hour once you know what you’re doing. While this isn’t a snappy game by modern standards – that would be 30 to 60 minutes – it is a good deal quicker than a lot of its predecessors. Many people hated the idea of two or three hours games like Risk or Monopoly, which made Catan a breath of fresh air.

The takeaway for you as a designer is to keep your games as short as possible for their weight. Obviously, extremely complex games should run for longer periods of time and extremely simple ones should be over in half an hour or less. The point is: cut the fluff.

5. Create reasons for players to interact with one another.

Circling back to trading for a moment, the magic of that mechanic is not simply in its subversion of zero-sum competition. That alone is substantial but equally important is the social interactions encouraged by trading. You may be trading in a friendly, genuine manner or you may be trading in a desperate, scattered, thirsty manner. Either way, you have to talk to your fellow gamers. You have to acknowledge them, their wants and needs, and try to either meet them or conceal the fact that you can’t meet them.

Social dynamics add so much to a game. This is why games like Cards Against Humanity – as much as gamers love to hate it – have the enduring power that they do. Games are nothing more than a front for spending time with other people. That’s the ultimate need that games meet for most gamers, more so than escapism or intellectual challenge. Catan acknowledges and encourages interaction. If you, as a designer, do this too, you will have greatly extended the life of your board game.


Catan was a trendsetting game for a lot of reasons. A lot of games have come and gone and Catan endures. Let’s learn from what it has done right so we can be better designers ๐Ÿ™‚





Board Game Designer vs. Developer vs. Publisher

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Creating board games takes an enormous amount of time and effort. The simple fact is that there are a lot of distinct tasks that have to be handled to turn a game from an idea into reality. This is why I urge each new board game designer to share the workload, delegating tasks to a team instead of doing them all alone. When it comes to delegation, it helps to define some roles. Let’s start with three roles: board game designer, developer, and publisher.

teamwork - like board game designer, developer, and publisher

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The first thing you need to know about designer, developer, and publisher roles is simple. The lines are blurry. The definitions I am about to give you are simply for your convenience. They are to be tweaked, twisted, torn up, or thrown out at your convenience.

What’s the difference between board game designer, developer, and publisher?

Designers make the game’s soul. They come up with the basic ideas behind the game (the core engine), design mechanics, create the rules, and sometimes even come up with the theme.

Developers bring the game to life. Developers tweak until the game is perfected. They commission art, proofread, and play-test. Sometimes they even order samples and liaise with reviewers.

Publishers share the game with the world. They take the completed game created by designers and developers, and run as far as they can with it. They raise funds, market the game, and if everything goes according to plan, manufacture and fulfill it.

Designers can develop, publishers can develop, designers can publish, publishers can design, developers can design, and developers can publish. It’s all very flexible.

A sample timeline for a board game designer, developer, and publisher team

What does this look like in practice? I’ll demonstrate below with the sample timeline I created for Kickstarter Math: How to Deliver Your Board Game On-Time and Within Your Budget.

Validate game idea by marketPublisher23 weeks before campaign
Develop basic loreDeveloper23 weeks before campaign
Game specsPublisher23 weeks before campaign
ContractPublisher22 weeks before campaign
Set up websitePublisher21 weeks before campaign
Set up mailing listPublisher21 weeks before campaign
First draft of the gameDesigner19 weeks before campaign
Manufacturing RFQsPublisher18 weeks before campaign
Fulfillment RFQsPublisher18 weeks before campaign
Start and maintain WIP thread on BGGDesigner or Developer18 weeks before campaign
Work on brandPublisher18 weeks before campaign
Play-test the game – early, privateDesigner18 weeks before campaign
Play-test the game with at least one person not designing itDesigner17 weeks before campaign
Play-test the game – online, generalDesigner16 weeks before campaign
Preliminary artworkDeveloper15 weeks before campaign
Screen artwork with audiencePublisher15 weeks before campaign
Play-test the game – online, guidedDeveloper12 weeks before campaign
Play-test the game – blind, onlineDeveloper11 weeks before campaign
Play-test the game – blind, offlineDeveloper11 weeks before campaign
Create physical prototype (with or without art)Developer11 weeks before campaign
Test physical prototypeDeveloper9 weeks before campaign
Sign-off on game / Art must be donePublisher9 weeks before campaign
Print review copiesPublisher9 weeks before campaign
Facebook group outreachPublisher9 weeks before campaign
Board Game Geek outreachPublisher9 weeks before campaign
Reddit outreachPublisher9 weeks before campaign
Send review copiesPublisher7 weeks before campaign
Podcast outreachPublisher7 weeks before campaign
Blogger outreachPublisher7 weeks before campaign
Streamer outreachPublisher4 weeks before campaign
Press outreachPublisher2 weeks before campaign
Manufacturing preparation (complete)Publisher1 week before campaign
Fulfillment preparation (complete)Publisher1 week before campaign
Kickstarter campaignPublisherCampaign
Pre-order / sales systemPublisherTBD
Ongoing distributionPublisherTBD
Interpreting the sample timeline

As you can see, publishers typically handle the majority of tasks associated with creating a game. This is because publishers act as organizations which have the resources to coordinate a lot of different tasks simultaneously. Designers, on the other hand, have relatively few tasks – design the game and do some early play-testing – but their work is critical! Game design and play-testing take up more time than nearly anything else except for possibly manufacturing and commissioning art.

Developers are in the middle. When games are first created, they’re often raw and rough. They’re nowhere near ready for the marketplace. They have to be further developed before a publisher can do much with them.

You’ll notice that the timeline doesn’t linearly go from design to development to publishing. This is no accident! From the very beginning, the publisher will need to make sure an idea is viable from a manufacturing, cost, and market perspective. Publishers who accept submissions rule out pitches that don’t meet these requirements. Publishers who work directly with certain designers may create specifications which the designer is obligated to follow. It depends on who you’re working with and how they roll.

Developers can get involved early on too! If the publisher and designer have a clear idea on what the theme will be, a developer can start working on certain elements of the game that will be applied later. This could involve creating lore or commissioning artwork. This can have the effect of enriching the game as an overall experience while saving time in the long run for everybody involved.


The most important takeaway here is to come up with a coherent way to split up labor. The board game designer, developer, publisher paradigm is the simplest way I know of doing that. This is a method I’ve been using on my own games, Yesterday’s War and Tasty Humans, and I’ve found it extraordinarily effective.

I’ll leave you with a question: are you more of a designer, developer, or a publisher? Let me know in the comments below, I’d love to hear from you ๐Ÿ™‚





How to Understand the Tabletop Gaming News Cycle

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Over the last couple of weeks of Behind the Scenes: Lessons from a Kickstarter Board Game Publisher, I’ve talked about some of the strange goings-on I’ve noticed in the board game industry. I’ve talked about why People are Weird, Markets are Weirder…Especially with Board Games and Why Board Game Publishers Like Some Games and Donโ€™t Like Others. Today, we’re going to talk about the tabletop gaming news cycle, and why it is – frankly – just plain weird.

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There’s nothing conspiratorial here. There’s no grand machination orchestrated by shadowy figures. There are, however, definitely weirdo group dynamics that are exacerbated by the technological advances of our era, namely search engines, social media, and an unending deluge of data. Nowhere are these weird group dynamics more obvious than in the tabletop gaming news cycle.

Azul - a photo that shows up time and time again in the tabletop gaming news cycle
Photo of Azul by Mikko Saari on Flickr. Under the CC BY-NC-SA 2.0 license. I’m using this photo to get more clicks from social media, which is both effective and goofy for reasons I’ll explain below.
People Are Weird. So are their media consumption habits.

In People are Weird, I stated that “gamers are becoming ever more sophisticated in ways to narrow down what theyโ€™d like to buy. No human being, let alone a busy one with a family or work or friends, could analyze every game to see what looks like ‘the best idea.’ Gamers do what any rational person would do in this situation โ€“ take mental shortcuts to make snap decisions.”

Turns out, people do the same thing with news, too. Left to our own devices, we gravitate toward news sources that act as comfort food for our mind. Google, Facebook, Amazon, and every Silicon Valley website out there that uses algorithms and automation to curate your experience only further serves to make you dangerously comfortable. Your Facebook feed shows you political news that enforces your current beliefs. Amazon suggests you buy items that resemble what you’ve bought before. Google tweaks your results based on what you click.

Good media outlets understand people. They help create the tabletop gaming news cycle.

Now in board games, thankfully, this effect is more innocuous. Curators of board game news, no matter who they are, have a vested interest in getting more views. They either want to display ads, sell merch, push their games, or take donations. This is true even for people who just want to pay the web maintenance bills. However, to get traffic, you have to talk about things that people are already reading about. You have to go through Google, social media, and Board Game Geek to find out where the hype is. The most successful websites create valuable content, yes, but they also by necessity have to be masters at the web traffic game. They know how to use the right keywords and buzzwords to follow the trends.

Websites need clicks, search engines need to work effectively, and gamers want to stay informed. At every level of the tabletop gaming news cycle, from the news-makers to the curators (search engines) to the readers, the incentive structure forces articles into saying the same thing repeatedly. That’s why there are a billion reviews of Azul online. That’s why gaming news has the general malaise of sameness after a while.

Social media follows the same rules.

“Okay, so I’ll just turn to social media and forums instead,” you might say. Facebook, Twitter, Instagram, Pinterest,  Reddit, and Board Game Geek can all provide alternative viewpoints to published websites. It is, after all, user-generated content. You would think that this would counterbalance the sameness of the larger tabletop gaming news cycle, but this is not the case either.

Every social media site and every forum worth its salt has some way of sorting. Social media sorts popular posts and prioritizes their position in the feed so more people see them. Reddit uses upvotes and downvotes, which – whether you admit it to yourself or not – colors the way you perceive the comment that follows. Board Game Geek has more complicated version of that which effectively does the same thing, involving Geek Gold, badges, a points system, and probably twenty other features that I still haven’t learned about after a few years of using the site. The incentive structure still exists.

Imagine, for a moment, a truly egalitarian website where there was no sorting, except for purely chronological and there were no upvotes or downvotes. Even in a place like that, there would still be “right” and “wrong” answers based on what people are expected to say. People are expected to conform to certain patterns, to like certain games, and say certain things. You follow the pattern, people praise you. You don’t follow the pattern, people think you’re weird. This is neither good nor bad, it simply is.

It’s not going to change.

At every level of news sourcing for any industry, including board games, there are incentives to say the same thing over and over. There are incentives to praise specific games and specific types of games. I don’t see a way around this or a way to change it. In fact, I even covered this a long time ago in The Board Game Industry: Powers That Be & The Hype Machine.

I’m loath to leave you on such a sour note, so I will conclude with five recommendations for new creators who want to make board games:

  1. Figure out what kind of games people like to play, then make that but with your own spin.
  2. Work in a team with other talented people.
  3. While working in a team, work on more than one game at once.
  4. Accept the weirdness of people, markets, and news cycles.
  5. Reach out to players directly.

Remember you’re a part of a bigger picture. Creative work can be very difficult and it can seem unbelievably difficult to get attention online. Stay strong, keep creating good work, work with talented people, and keep trying! You’ve got one supporter already ๐Ÿ™‚