More Games Please brings you interviews with the best board game artists and designers. We find out more about their inspiration, the challenges they've faced and how they created the games we love.
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The key for me was not to just have a guy in a suit with a Cthulhu head, but to have the guy in a suit with a Cthulhu head be just another cog in the corporate wheel. The ridiculousness and the horror work hand-in-hand, and frankly, except for the actual evil magic stuff, it's not that divorced from the real tech industry.
[..] we wanted it to be recognisable and something that people could identify with. I think that the downfall of a lot of high fantasy themed media is that you either love it or you're indifferent to it at best. However, everybody knows what a Tiger, a Panda or Rabbit is and a lot of people have some sort of connection with animals. I think this automatically lowers the barrier of entry and allows people to actually look further than the theme…
Art shouldn't be in a museum where you need to go especially and pay money if you want to explore aesthetics, it should surround us. We started with our first piece three years ago in Tel Aviv central bus station and we've both been hooked ever since. It took us some time to learn to work together, how to give and receive critique and create for the being that is Extra Crunchy that allows us to deliver our message better…
Star charts have an amazing aesthetic that feels foreign and esoteric, but mesmerizingly detailed. Combined with the use of astronomical symbols, I sought to create an art direction that gave the sense that you're peeking into this whole other alien universe through the perspective of its inhabitants.
With any game design, before making a big change, you have to understand what the problems are that you are solving. My process is to find what's fun about the game and design everything else around it in support of that fun.
Although we were using a lot of fantasy tropes, I always found it odd how so much of fantasy was so white. It made sense in Tolkien's days, but being persons of color ourselves we felt like why not create a world where our heroes could be from other backgrounds?
There are surely those who would argue that a Sicilian setting is the most classic one, but we always had an American setting in mind. That allows for a wide variety of characters and illegal businesses, as so many different people and cultures were present in the US gangster scene during the first half of the 20th century…
I wanted an old and detailed styled map. So I contacted Daniel Hasenbos who is a cartographer [..] and by intense research [..] added historically correct buildings and monuments throughout the Roman empire.
Joeri Lefevre provides the all the card art and the amazing box art. I wanted his art pieces to be classical and to depict different situations in the daily life of Roman people [..]
