a thesis

Abstract
Visual design in collectible card games currently abides by a general formula, maintaining the
same look on the player‟s table for many years. This supportive narrative documents
research, thoughts and a case study on how visual design can enrich this game experience for
a collectible card game. The case study is the graduation project Ascendance: Rise of Gods, in
which I visualized a collectible card game designed by Game Design & Development students
Niels Hansum and Jasper Saaltink. This game, fantasy- and tournament-based, aims at a
specific target audience; one that enjoys the fantasy genre, analogue games and immersive
gaming.
Ascendance: Rise of Gods poses a theory on how to appeal to this soft spot with artistic
renderings. It also emphasizes how creating a solid game universe can add to a game
experience. Furthermore, it provides examples of portraying this universe with more than
cards alone. It shows how players could be given more room to immerse in an analogue game
with an experimental perspective on in-game oversight and interface display.
In short, this supportive narrative is a guide to newcomers in the collectible card game
experience and the analogue art coming with it. It suggests how a game artist can give a
player more reason to play.
1
Acknowledgements
This supportive narrative and the graduation project tied to it would not have existed without
the two inspiring game designers Niels Hansum and Jasper Saaltink. After inviting me to join
their project, they were interested in my suggestions and opinions during their design
process - regardless of my lack of expertise at the time. They took me behind the scenes of the
analogue gaming world and were of great value in the research conducted for this narrative. I
want to thank them for their continuous support and providing me their concept to work
with.
My gratitude also goes out to Tarek Atrissi, who was a very patient and understanding
supervisor in my time of need. His insights helped me through finishing the graduation
project at the best of my capabilities.
2
Table of contents
Abstract
1
Acknowledgements
2
Introduction
4
1
5
Chapter one: Analysis
1.1 The catalyst called Magic: The Gathering
1.2 Artistic renderings analyzed
1.3 Concluding
2
Chapter two: Enhancement
10
2.1 Custom universe, custom fame
2.2 Analogue world
2.3 Concluding
3
Chapter three: Perception
10, 11, 12, 13
13, 14
14, 15
16
3.1 Unusual art
3.3 The view on the table
3.4 Concluding
4
5
6, 7, 8
8, 9
16
16, 17
18
Chapter four: Ascendance: Rise of Gods
4.1 Analysis
4.2 Enhancement
4.3 Perception
19
19
19, 20, 21, 22
22, 23, 24
5 Conclusion
25
6 Bibliography
26
7 List of images
27, 28
8 References
29
3
Introduction
This supportive narrative centers around fantasy-based collectible card games. These
analogue games are played with sets of trading cards, referred to as „decks‟. They combine a
collecting aspect with strategic gameplay in tournament-based battles with a fantasy setting.
This supportive narrative guided the exploration of this medium and is meant to support
those who know little of it, but are eager to improve their approach to applying (analogue)
art.
My graduation project consisted of visualizing a so-called „CCG‟, entitled Ascendance: Rise of
Gods. Its design was created by Game Design & Development students Niels Hansum and
Jasper Saaltink. My target audience enjoys putting together their own deck and having to
think about it too. They are creative and clever, using tactics and technical thinking to beat
their opponents. However, they value a compelling gaming experience as well. Next to
analogue games, they often prefer games rich in imaginative art, story and a solid game
universe.
In current collectible card games, cards with a single illustration and a line of description or
two are often the only things visible on the table. Mental calculation drives the lore players
read before and the figurines of a collector‟s edition to the background. This works for players
because these cards are the tools to clear a battle. Visual change is not required, but becomes
a challenge when you want to appeal to the aforementioned audience.
How can visual design be applied to collectible card games in a manner which enhances
player experience?
Visuals in games are meant to translate what the player needs, can choose or must want to
do. Game art is there to apply to game design. Being a game artist, I want to try and enrich
game design with it as well.
I believe visual design could liven up the course of a gaming session. It could bring the fun
factors from outside the game inside. This narrative supports that challenge. The work
process on this project was led by the following sub-research questions:
- What is the current standard of visual design for collectible card games?
- How does art in general enhance a game experience for my target audience?
- How does visual expansion of a game influence a player’s experience?
The chapters assigned to these questions aid in answering the main research question. In
conclusion, a theory on how visual design can improve a player‟s game experience is
delivered, with Ascendance: Rise of Gods featured in the final chapter.
4
Chapter one: Analysis
What is the current standard of visual design for collectible card games?
1.1 The catalyst called Magic: The Gathering
When experimenting with art centered around a certain medium, it is necessary to know the
history of it. Collectible card games and their visual design evolved together over the years
into the work we see today. Trading cards have been around for a long time, the first dating
back to the 1860s, but once strategic gameplay was added to them, CCGs were created.
Where trading cards used to be part of a set to be collected, they would now be designed
specifically to cater game play. It was Magic: The Gathering which first coined this modern
concept of a CCG in 1993. 1
In the years after the first publication of Magic: The Gathering by Wizards of the Coast, the
fantasy-based novel game method grew rapidly in both popularity and content. One could not
only purchase their way into the deck of their preference, but also compete with it. The
collecting aspect supporting gameplay evoked massive appeal. Other companies instantly
started exploiting this niche as well and in the 1990s, CCGs flooded the market.
A large share of these games never gained the same success as Magic: The Gathering was
seeing then. An example of why a CCG could fail in this time is the game Doomtrooper
(Target Games, 1994), which lasted for three years before being cancelled. Doomtrooper‟s
main downfall was its sci-fi universe; a feature meant to draw in players who found no appeal
in the high-fantasy Magic style. This target audience, however, turned out to be too small at
the time to keep generating profit.
External factors like these were the main instigator of failure. For example, cards would be of
poor quality (the presses then not being what they are now), the game would not be
advertised or distributed cleverly, or it simply did not stand out with so many CCGs being
released at the same time (Long, 2007).
Throughout the following years, Magic: The Gathering kept doing above average, as it was
thriving on a large group of loyal players and a steady and wide-ranged distribution. Features
that could be considered as flaws were altered or removed over time to maintain success. For
example, original Magic rules included gambling with cards during the so called „ante‟
playing sessions. At the start of a game, the ante cards would be set aside for the eventual
winner to take. Few players chose to play like this and combined with gambling being viewed
negatively by society, Wizards of the Coasts complied to public protest and continued on with
an improved game (Long, 2007).
When the CCG format was approached from different angles rather than copying existing
successful game mechanics, there were three other releases able to walk alongside with
Magic in that time. These games are Legend of the Five Rings (Alderac Entertainment
Group, 1995), Pokémon Trading Card Game (Wizards of the Coast, 1996) and Yu-Gi-Oh!
Trading Card Game (Bandai, 1998) (Long, 2007).
Each of them, like Magic, cultivated a large fan-base and evolved over time, winning players
with charm and adjusting flaws when necessary. These four CCGs all survived to the present,
where tournaments and gatherings are still being held to play and their stock is still coloring
store shelves.
5
1.2 Artistic renderings analyzed
Not all succesful collectible card games are centered around fantasy. Sports-based CCGs and
their trading cards currently share being played and collected most.2 The different rules
sports have mean a different visual design to explore. The focus here remains on the fantasybased CCGs described earlier in this chapter. This is because Ascendance: Rise of Gods is
also a fantasy-based game concept and this style is favored by my target audience. While I
have looked at sports-based trading cards, it is the fantasy-based visual design which will
now be examined and documented.
When Magic: The Gathering was first published, Wizards of the Coast patented their
gameplay. Incidentally, their layout design set the standard for the visual design of CCG cards
as well. The following images are of the first card prints from the successful games mentioned
previously.
1 Magic: The Gathering
2 Legend of the Five Rings
3 Pokémon Trading Card Game
4 Yu-Gi-Oh! Trading Card Game
The similarities of the image- and text positioning are clear. Wizards of the Coast‟s visual
placement formula was one that worked for players and was copied in many other games, not
leaving their own either (the Pokémon Trading Card Game).
6
To fully understand this structure, I bundled my findings in a schematic image. This analysis
of information placement aided me in making important design decisions for creating the
interface of the Ascendance: Rise of Gods cards.
1. The title of the card (ranging from the name of a collectible to an action or resource).
2. An added feature defining the type of card, based on game mechanics. For example, if
this was a creature card, it could state an influential origin.
3. A general space for numbers or icons dedicated to the content of a card (sometimes
found on the bottom as well). For example, if this was a creature card, a number could
express its amount of hit points.
4. An illustration of the card‟s content. This image often takes up half or more of the
card‟s size, as this is the main indicator of its content for players (Buehler, 2007).
5. The outline of the card, which is the same for every card in a series. It is a simple
border to prevent chipping or other damage to the edges, which could influence the
condition of the card and therefore decrease its value to collectors.
6. Space for text explaining the function of the card and sometimes coming with an extra
on the card‟s content (often referred to as „flavor text‟).
7. A background. This background is often colored or textured in a manner which
groups types of cards together. For example, looking at the Pokémon cards shown in
this chapter, tells us that water typed Pokémon have blue backgrounds, while
rock/ground types have brown backgrounds.
Cards in a successful CCG cannot alter their visual style too much over time. When the game
has a long running, game design is never altered drastically. It is just balanced and expanded
with new elements to keep the experience fresh and challenging. Visuals tend to stay the
same as much as possible for cohesion in the entire look and feel of it. A prime example can
again be taken from the Pokémon Trading Card Game.
7
5
6
On the left features a water-type Pokémon card printed in 1997. On the right, one of the most
recent water-type Pokémon cards from 2011 is shown. The art did gradually adapt to modern
times, as can be seen, for example, in the silver border around the illustration. However, the
same format has been sported for over fourteen years to maintain the aforementioned
cohesion.
The classic layout proves itself profitable by staying alive in many of the older CCGs still
running today. It is not strange new fantasy- and novel-based CCGs are still designed
similarly as well. In fact, it has integrated so much that when we look at new CCGs from 2011,
the trend is still visible.
7 From left to right: Conquest Tactics (Zeitgeyser), OZ Collectible Card Game (Orion’s Bell) and Phase
(Alderic Entertainment Group). A handful of cards from 2011 productions.
These are from games that are no expansions or follow-ups on previously designed CCGs.
1.4 Concluding
The current standard of visual design for collectible card games has not shifted drastically
since its first appearance in the 1990s. Few fantasy-based CCGs seem to be straying from this
general layout in their cards. This is mainly because the format was empowered by the
8
history of successful collectible card games.
To observe the in-game function of this standard visual design, I participated in many
gaming sessions with my target audience. When playing a CCG it becomes clear the formula
is applied to user accessibility.
In a CCG session, two players are seated in front of each other. Usually, the custom decks
they bring into the game are piled up, after which hands are drawn and spread out on the
table. The content described is placed at convenient positions for the player to see. An
illustration is present for the opponent to easily recognize the cards. CCG players memorize
cards automatically due to repetitive playing and collecting. When experienced, they only
need the illustration to recognize a card‟s function. Text therefore gains less space on a card
than imagery. This is also why groupings of cards are often indicated with color and/or icons.
The backside of a card, however, is always the same on each card, making sure a player
cannot read the opponents hand.
In the explorative search for my graduation project, I did not only learn of these basics, but
also encountered layout design straying from them. My assessment of them follows next.
9
Chapter two: Enhancement
How does art in general enhance a game experience for my target audience?
2.1 Custom universe, custom fame
Regardless of time or game universe, the essence of a collectible card game‟s card structure
has proven to remain consistent over the years. If basic components such as a title, image,
description and more of these standards are essential to the game design, there are only few
ways to portray those values on the limited size of a trading card. Their placement must be
convenient for the eye of a player and their opponent. Therefore, in the past years, the most
noticeable shift in visual design can be seen in customization of this general layout.
When the CCG became an established, profitable medium, the market for it grew and
stabilized. This meant there was more room to pay attention to art and this was not only
because of improving technology. To make cards stand out, some visual designs started to
stray from the common looks. The main objective: to create cards custom to the world it was
dedicated to.
Clear examples are cards from Battlestar Galactica Collectible Card Game (WizKids, 2006)
and Power Rangers Collectible Card Game (Bandai, 2008).
Battlestar Galactica is a science fiction franchise from the United States which started out as
a TV series in 1978. It became so popular it received a sequel series, book adaptations,
original novels and comic books based on the universe and eventually board-, collectible
card- and videogames.3 The original premise of the franchise is about a civilization of
migrated humans living on a group of planets far away in our galaxy. They build so-called
Battlestars to fight with during a war with other space inhabitants.
8 Cards from the Battlestar Galactica Collectible Card Game
From the start, Battlestar Galactica had a steady visual design, sci-fi in style and
recognizable for fans. This design is exactly what we see back in the cards of the CCG.
Even though the image and text alignment remain largely the same as we are used to by now,
these cards catch the eye with unusual features. Some card groups are placed horizontally in
game, such as the Galactica card in the row seen above. Style-wise, the chipping of the
corners is a sight even more rare.
10
When examining the first TV series (which now has a cult status) and the 2004 TV series
(which is thought to be its most successful reboot4), the interior of the Battlestar named
Galactica introduces the basics for this visual style.
9 Promotional picture for the Battlestar
Galactica 2004 TV series
10 The first edition of the Galactica spaceship
The askew edged, symmetrical corners have always been present in the architectural design
of the prime Battlestar. The brightly-colored lining featured in the cards resembles the
lightning used in the ships throughout the series. Even the pitch black background of the
cards reminds us of space. Further confirmation of the universe‟s style and how well the CCG
cards were customized can be taken from other Battlestar Galactica game adaptations as well.
11 On the left a set up for the most recent board game Battlestar Galactica (Edge Entertainment,
2008), on the right advergame Raptor‟s Revenge (Blackdot, 2007)
Battlestar Galactica Collectible Card Game unfortunately lasted only one year before being
cancelled, as the publisher could not extend the Battlestar Galactica property further into a
CCG.5 Still, the artistic renderings and complete catering to the concept of the CCG allowed
the fans to get exactly what they wanted. They had access to stylized collectibles on their
favorite franchise and got to play with it too.
Where Battlestar Galactica has a generally older target audience, the Power Rangers
Collectible Card Game is aimed at age six and up - and designed accordingly. This is the same
audience the original TV series from 1993, Mighty Morphin Power Rangers, was made for.
11
This series centers around five costumed heroes battling the forces of evil and was an
American version of the Japanese series Super Sentai.6
12 Three cards from the Power Rangers Collectible Card Game
The card design matches this general premise as well.
The focus of these cards seems largely centered on the bright,
over-the-top image. Main tactics to ensure this leading of the
eye seem to be the outlining and the interface. The outlines
are almost non-existent and neutrally colored (silver, white),
causing the main image to stand out. Just like how the
colorful Power Rangers themselves stand out when they come
to save the day in the (often gray backdrops of the) series. In
the rest of the interface, numbers and icons
have the upper hand over text.
13 The Power Rangers in the first
TV series
The cards feature artwork from a trading card game already published in Japan, Rangers
Strike (Carddas, 2006). This game was created for the same Super Sentai TV series the Power
Rangers were based upon. History repeats itself and even though it is only distributed in the
United States at this moment, Power Rangers Collectible Card Game has been a hit amongst
children and teens sharing a love for the series.
What both these CCGs have in common is the fact they are part of an already existing
franchise, gaining them an instant fan-base. Battlestar Galactica has been a successful
concept for over three decades, having millions of fans around the globe. Power Rangers were
designed for a younger audience, but there are few adults who haven‟t heard of them too. The
same goes for earlier mentioned universes, such as those of Pokémon and Yu-Gi-Oh!. Fans
want to collect their favorite characters or relive the system they see on TV for themselves.
This already sounds plausible in theory, but can actually be proven with CCGs released in the
past who briefly made it on fame alone. A prime example is Star Trek Customizable Card
Game.
Star Trek Customizable Card Game (Decipher, 1994) was one of the CCGs created in the
1990s that did not live up to Magic: The Gathering‟s long-lasting success, but certainly was
up to par with it in terms of fame for a while. Already having a fan-base so large being a fan
had a name („Trekkie‟), the sales went through the roof when the CCG launched. The
12
universe, with all the content from Star Trek: The Next Generation, was massively popular.
Secondary market prices for main characters skyrocketed and it was only the overly complex
game design and lack of balancing that eventually caused it to be cancelled (Long, 2007).
Yet when Decipher gained the license for the rest of Star Trek‟s universe, they managed to
create a new successful game in 2002. The franchise never died (the most recent film based
upon it being released in 2009), the fans still exist and therefore, the cards still sell.
2.2 Analogue world
One could say that collectible card games based on a franchise have an advantage because of
their pre-existing fan base. Still, the catalyst has universes created for – and in - the game
itself. How did Magic: The Gathering make it work?
Magic: The Gathering has a setting that was first created in cards and distributed entirely in
analogue. They have not only modernized their design over the years, but expanded their
initial universe too. They brought the world to life in stories, often referred to as „lore‟. These
stories were delivered in books from 1994. Is their setting distributed by books alone? When
asked how the novels and the cards interact with each other, Dommermuth (2005), a creative
director for Magic, replied:
“Generally the cards provide the world in which the novels are set, and the novels
sometimes provide characters represented on cards. But cards also introduce their own
characters that might not appear in the novels. In short, the Magic creative team and the
novelists work largely in parallel and inform each other as much as possible.”
This was not always the case. In fact, when the first card sets were
released, there was no particular world or setting at all. Art was, at
that time, treated so lightly there were even illustrations
completely failing to match a mechanic, which caused general
uproar with players. Next to that, Wizards of the Coast also
realized this would not suffice because of expansion prospects.
The core cards contained abilities such as „flying‟ and a portrayal
of that has no problem being accepted by a player as magical.
However, when expansion packs gained more abstract mechanics
that did not match a magical image (think „buyback‟ or „echo‟),
cards would lose their „flavor‟. The solution was to have writers
create a background for the cards; one that would provide enough
for „cool‟ names, images and flavor texts.
14 The infamous
Whippoorwill card, depicting
a flying bird while the
creature itself is not able to fly
It was not until the story-driven Weatherlight, an expansion set
from 1997, that Wizards of the Coast started looking at ways to
grow the Magic universe into something more than just cards. The Weatherlight story was
received with mixed responses. Most players did not seem to care about or like it when
playing, eventually causing Wizards of the Coast stopping to try using cards as a means of
storytelling. They concluded their players wanted an expansion set to consist of a large
library of new creatures, items and spells for them to choose from. They therefore decided it
was best to design cards in a manner which enabled the player to create his or her own story
while playing (Dommermuth, 2002). When these renewed expansions came, the focus for a
13
pre-existing story therefore shifted to their book-publishing department rather than the
development staff.
The problem with novels accompanying card games, according to Dommermuth (2003), is
the different needs of the two mediums. Novels focus on characters and their interactions,
following a plot in the story which often changes them. Cards focus on characters that do not
change at all and who, of course, do not interact with others either. A novel would not be a
novel if it would only describe countless of characters needed for the cards. Similarly, the
cards would be balanced well either by a story focusing on only one or two of them and
leaving out the rest. This does not mean novels cannot add something extra to an analogue
universe, but we must keep in mind Wizards of the Coast was looking for a way beyond the
cards to create the world in-game.
Eventually, they drew the conclusion the cards are the heart and soul of the game. As they
prioritize creating successful cards, they now start with an idea and iterate it between
different staffs. Research and Development starts designing a card and the creative staff
develops a world sprouting from the design. This happens simultaneously and the processes
are dependent on each other. Iteration is key to the collaboration. When the world is
developed enough, novelists are brought in again to write book sets taking place in that
world. These stories are not told by the cards, because the cards just describe the world they
take place in. The idea for the card creates the world and the world and the idea work
together to finish the card (Dommermuth, 2005).
Stories can now be found in the novels for the player who cares, or they are made by the
players themselves when they play. In the end, the universe itself is most important. This is
why the art of the Magic cards improved over time as well. Wizards of the Coast now strives
to publish art radiating fantasy, but still unique enough to Magic‟s domain. When the new
worlds are created in design and story, an established art department visualizes an applied
setting. Not only the stories, but the cards in general were received more positively when
continuity and cohesion in the card styles started developing. Art must now be representative
of the card and not misleading, such as in the Whippoorwill example. The visuals are now
commissioned to be engaging, as long as it is not at the expense of clarity or breaking the
continuity of the world‟s style (Jarvis, 2007).
2.3 Concluding
In a collectible card game, the content of a card is key. This could be either in game to win a
battle or outside the game to complete a collection. The trading aspect of CCGs remains, of
course, one of their most charming features. Using the cards as a means of storytelling
diminishes the original purpose of the card. The in-game visible link on the table to a game
universe or story therefore is told mostly by text and one representative image. This
customization attempts to add value to the game experience and all-round design. After all,
there are no collectible card games which do not evolve around a custom universe, whether
they stem from an already existing franchise or are created solely for the game itself.
So does applied artwork enhance the credibility of a game world and therefore eases
immersing in it? When a card lies a familiar and matching link with the franchise a player
adores, it does. When all cards are cohesive in visual design, a game will look more appealing
to play. It recreates the universe the player already has a preference for. Or, when the
universe is still unknown to the player when first playing the game, it could help to accept the
14
world as more „real‟. This is an effect resulting from when details are customized. The
positioning and decorating of information on the cards offers room for this customization.
With so much inspiring visual information, be it from these already existing franchise style
guides or the setting of the game itself, it was ought to be a matter of time before
experimental artistic renderings of collectible card games would surface. In the next chapter,
I take a closer look at the view on the table.
15
Chapter three: Perception
How does visual expansion of a game influence a player’s experience?
3.1 Unusual art
Board- and miniature games often take no restraint in creating complex constructions,
intriguing shapes and customizable statues. In those years of experimental outbursts,
comparison with a collectible card game makes the latter one look rather unchanged.
During a gaming session, there is usually not much to see on the table except the cards
themselves. The factor of adding new cards over time with more expansion sets attempts to
keep boredom at bay. This basically makes it an ever evolving game; a concept proven
successful over the years and a charm of a collectible card game. Is adding supportive art a
means to empower this concept?
When looking at recent regular card games appealing to my
target audience, there are actually some with unusual
renderings of cards in the running.
The game Ren Faire (Atlas Games, 2009), for example, makes
use of transparent, plastic cards rather than paperboard ones.
This game revolves around dressing your character for a
Renaissance Fair, which is done by placing the cards on top of
5 A complete outfit put together
each other. The game mechanics of Ren Faire are not similar
with several cards in Ren Faire
to those of a CCG, but they do share intentions as they both
appeal to an urge to customize. Changing a character is
physically possible and remind us of the many popular dressup games online, or avatar creating.
CCGs are centered around this premise as well, as their
concept is to offer a large amount of cards for a player to
choose from and customize a deck. This is also why cards in
15 A completed character in Ren
Faire, consisting of six different
CCGs are balanced meticulously; the core must be maintained
cards
or the game could fail, as described in chapter two. Expansion
of a CCG is near impossible if cards would be plastic and able to transform when being put on
top of each other. Instead, Ren Faire is one of many analogue games that shows how direct
visual translation of a game mechanic in a card game could enhance a motivation to play.
3.2 The view on the table
There are some collectible card games in the running also
making use of this feature. As mentioned in the previous
chapters, the CCG as a medium has been explored from many
angles by many different games.
To pick one that has proven to be successful by being still in
the running, we can take an example from EVE: The Second
Genesis Collectible Card Game (CCP, 2006). This is a CCG
that makes active use of an added feature on the table. The
game displays content on an artistic rendering suited to it,
rather than using another grouping of cards. Much like the
online version it is based on, this analogue EVE uses currency.
And this time, it is literal. The currency is visualized as small
16
16 A trading card package from
EVE: The Second Genesis CCG,
accompanied with an example of
visual expansion
coins to hold on to during the game. It is a physical representation of what people are already
accustomed to using in EVE: The Second Genesis. In there, the player does not need to keep
coins in the mind either. This adaption adds the same comfort in the CCG by granting a
player more room to focus on the entire gaming session, rather than keeping track of
numbers.
There are more CCGs who have made physical translations from their pre-existing universe.
For example, a closer look can be taken at the 24 Trading Card Game (Press Pass, Inc.,
2007), based on the TV series 24. This is a crime series centering around a Counter Terrorist
Unit and each episode documents 24 hours of an agent‟s life there.7 24 is known to be fastpaced, with a lot of pressure on the agents as they try to solve a (terrorist) plot.
As it does not contain giant monsters battling each other but a team working against
the plot, Press Pass, Inc. decided to visually expand the game by incorporating a custom
player‟s mat. This player‟s mat has specific zones where cards need to be placed to execute a
move. Just like in the series, the player has to alternate between the Field and the Briefing
room. There was also effort to maintain the fast-paced feeling 24 is known for, with time
counters turning after each move. The franchise has it certain appeals and, keeping the
original visual design in mind, this universe is empowered by visually expanding the game.
17 A 24 Trading Card Game individual player’s mat,
featuring the time and places to be in- game
This particular player‟s mat features main character Jack Bauer, but there are also mats with
the CTU office on the backdrop. A customization on top of another for the fans to pick from.
This is why next to in-game value, player‟s mats appear for more reasons as well. They are
often designed to accommodate game structure on the table.
With a lot of different cards, player mats keep placement of
them organized and therefore offer an easier overview.
Professional CCG players, i.e. the ones participating in
official tournaments, are used to taking their own mats with
them.
Secondly, the mat simply is another collectible to gather. It
is a small addition to make even to the longest running
18 A tournament gaming session,
CCGs without breaking cohesion. Customizing the mat is,
guided by the use of a player’s mat
just like customizing the interface, a means to draw the
player more into the setting of the game. They become part of the franchise around the CCG
together with many more items, such as the aforementioned novels, complementary art
books and special collector‟s editions. These latter ones could feature everything, from
figurines to limited edition cards not even meant for play.
17
3.3 Concluding
Unusual formats are common in analogue games and collectible card games sometimes come
with special extras as well. The concept of adding coins, for example, is not new to CCGs.
Quite often, gameplay requires a coin toss before players get started. Sometimes, custom
coins are delivered with a starter set for this. It is not uncommon for coins to also be used for
keeping track of hit points on creature cards.
If you lead an addition like this back to its core, it can be concluded it eases gameplay by
getting statistics out of the mind and on to the table. Featuring these physically present
elements with the traditional game design could improve a CCG experience. It draws players
in by emphasizing the customization of a universe.
For this universe, details are as important as the bigger whole to accept something as a fullfledged concept. This also shows in the use of player mats and collectibles that match the
game, even though they do not necessarily have in-game value. It is a part of visually
expanding the entire experience. I decided to experiment with this when developing
Ascendance: Rise of Gods.
18
Chapter four: Ascendance: Rise of Gods
The case study
4.1 Analysis
I had little experience with collectible card games when I started this graduation project. This
is why one of my first actions was assessing general history on collectible card games. I also
conducted extensive field research, many of which the content of this supportive narrative is
based on. I talked to and played CCGs with both my target audience and the game designers
of Ascendance: Rise of Gods. They are people ranging from the age of 20 to 26 and of Dutch
origin.
These experienced card game players taught me the tricks of the trade and provided me with
information on what they liked in card visuals. I collected cards from different games, varying
from popular fantasy-based ones to even sport-based cards, to refer to during the art
creation. Using this library of physically present information, I participated in early game
concept discussions to ensure my art would be applied to the design of Ascendance: Rise of
Gods. I deemed this necessary when keeping the current developing process of Magic: The
Gathering in mind.
In Ascendance: Rise of Gods, you assume the role of a God and battle with other Gods. As a
God, you control powerful subjects we call Warriors. Warriors, either normal or mythical, use
Abilities to fight the Warriors of the opposing God.
The goal of the game is to wipe out all enemy Warriors thrice. The game can be divided in the
following phases the players run through:
1. Battle Preparation
In this phase, the two players lay down the chosen Warriors for battle and fill their
hand with seven Ability cards. A coin toss decides who starts.
2. Battle
This phase is repeated until one of the players is beaten and consists of sub-phases:
a) Start of Battle:
b) Intervention:
c) Order Phase:
d) Clash:
e) Fight or Flight:
f) End of Battle:
Warriors receive Ability Points (AP) to spend.
The Gods use their special Ability.
Abilities are divided amongst Warriors.
Abilities are executed.
Players choose if the battle continues by repeating b through e.
Players clear the used Ability Cards, draw three new cards,
switch starter status and start a new battle.
When a player is beaten, the Battle Preparation initiates again until one player is beaten three
times.
A player can choose to battle in an Adaptive, Aggressive or Defensive style. Each of the three
Gods in the game stand for one of these categories and has control over matching Warriors.
These Warriors can only use Abilities within the same style as theirs, next to three all-round
Abilities.
4.2 Enhancement
During the game design process, I created a world suitable to enrich the cards. When
illustrating a collectible card game, one must always keep time constraints in mind. The game
design process does not parallel with the visual process. It would take a while before the
19
designers would deliver final card values, so I focused on a setting first; one in which it was
plausible for Warriors to battle each other under the command of Gods.
I designed the world to be a normal Earth having been shaken by the fall of its reigning God.
Its three disciples have worked together to overthrow it, but are now turning against each
other to gain ultimate power themselves. When the first God fell, he tore the Earth apart and
awakened creatures thought to be long extinct. This is also how I explain Warriors to be
mythical or non-mythical.
I decided to document this narrative part as a short story rather than a novel to avoid the
pitfalls I encountered in the history of Magic: The Gathering. It eventually became the
format of a journal to be delivered with the instructions of the card set. It belongs to a young
travelling historian, who made it to one of the last safe places in the world. In this monastery,
he is doing his best to document and store all he has seen for a generation of survivors - while
he awaits his inevitable death.
The game designers preferred the world and its characters to be portrayed seriously and
anatomically correct rather than „cartoony‟. With this straying from my usual style, I looked
at artists I have always found inspiring and decided to take an example to illustrator Anton
Pieck. When having to produce large quantities of art, it is wise to stick to either something
you know or something you are highly interested in.
Pieck‟s manual drawings have a classic and mystical feel to them; exactly the feeling I wanted
my world to emit. After examination, I concluded most the Pieck effect stems from
composition, saturated colors and the water paint and paper texture.
19 On the left, a typical work of Anton Pieck. On the right, my own version of the
illustrative style for a Warrior card
My illustrative process consisted of sketching in pencil, creating line art with fine liners and
digital coloring. I did keep hues saturated enough to maintain a clear contrast. This would
ensure the image to be easily recognized from a distance in a small, square format.
Anton Pieck‟s characters generally abide by anatomic rules but still have exaggerated features
emphasizing the nature of the character. For example, the clown shown in the previous
illustration has large, curled shoes and appears bouncy in nature due to his arched back. I
believe these silhouettes can suit a card illustration well when it comes to applying the
character to the in-game value. It further improves the recognition factor.
20
When setting up the layout supporting these images and the world they
were in, I wanted the design to fit with their premise. Having learned
how important details are, I wanted to emphasize how a player would be
dealing with battles and Warriors.
Ascendance: Rise of Gods originally had its concept centered around
Vikings. Both the designers and myself had a preference for their
historical setting and concept-wise, their mythology was a great source of
inspiration. This is why after determining the type of illustration, my
visual research continued in Viking and Celt directions.
When examining the famous Celtic knots in their traditional art style, I
20 The Maori
accentuate their
soon found other patterns with more meaning to them as well. A warrior
features for
tribe in New Zealand called the Maori, have tattooed themselves for
intimidation and
hundreds of years, earning the markings for bravery or strength. Lines
prestige
trail over the muscles in age-old patterns, highlighting strength to fear an
opponent. I decided to use these patterns as an inspiration for the interface. The lines would
direct the eye mainly to the illustration above them and circle around in-game values to draw
focus there.
21 A finished defensive Warrior
card
Ability cards being placed under the Warrior cards have their interface connect to the
Warrior cards, maintaining a bigger whole to keep my setting cohesive. The God cards, in
turn, received an even more detailed layout framing their names, as they are higher in rank.
I set up a library of Warriors woven into the story line matching the Viking concept as well.
When I would get the cards two months before my own graduation, I would be able to choose
the characters best suited and work those out together with my story. This was the only
solution to deal with time constraints.
While creating the Gods and Warriors, I paid extra attention to their pose and body language.
This had to be conform to their battle style. For example, I would not draw a defensive
character in a charging pose. Of course defensive typed Warriors attack too, but a trading
card is still one everlasting shot and has to be representative.
In the icons representing the battle style, I combined Celtic art (representing the old Viking
inspiration) with the Maori interface outlines. They decorate the background behind the text
21
in a card to indicate God, Warrior and Ability compatibility. Because of this placement, I
made sure each icon had a distinguishable (and matching) shape; a triangle, a plus and a
circle. The Adaptive, Aggressive and Defensive icon can be found throughout this narrative at
the end of each chapter. For the official Rise of Gods logo, I combined all three of them.
A lot of time went into this designing of the general interface, Gods and Warriors. This, at one
point, had me considering creating no images for the 25 Abilities at all. Using only text would
save a lot of time. When discussing this with a member of my target audience, I concluded
this would be a wrong decision. As mentioned before, players playing opposite of each other
have much better insight in what the other is doing when recognizing the image, since text is
difficult to read from afar and upside down. It slows down the game when a player has to
keep reading the cards over and over. This would be obstructing immersion, so Ability design
commenced.
As a solution, I rendered Ability illustrations in a different style to produce faster. I decided
to keep them colorless and use only line art (the line art still being similar to the other art).
When play testing proved lines only did not convey the image well, I adjusted and applied
general shading and transparent neutral colors to emphasize the silhouette and its structure.
22 Before (left) and after (right) working on the Ability called ‘Buffed’.
Coloring and shading made the figure more recognizable to players
4.3 Perception
When I was iterating the card visuals, I started thinking about channeling
my research into an optimal playing experience. The game design of
Ascendance: Rise of Gods is quite complex and I decided I could give a
player more room to enjoy playing if certain elements would be presented
physically, taking mental calculation away.
Ascendance: Rise of Gods has fantasy-based creatures battling each other.
They lose hit points when damage is dealt to them. I started
experimenting with cards portraying health rather the player having to
23 The prototype of
keep this status in mind. One would place the Warrior card over these
a health card, used
in play-testing
„health cards‟ and shift it according to in-game progress.
sessions
When tested, this was responded to very well by the target audience, as it
granted them easy status oversight. A negative consequence of this development was having
the player struggle with a lot of cards at the same time. After arranging the health cards, they
22
would place a Warrior on top of it and an Ability below it. These were all placed next to the
piled and God cards. This overview is hard to organize.
I decided to bring in a player‟s mat to solve this problem. In digital gaming, a health- or life
bar has been used for years to indicate hit point status. I created a mat functioning as an
analogue health bar to gain more effortless structure on the table.
24 The analogue health bar, featuring coin holders
Four cards can be played at one time, meaning four Warriors can attack each other at the
same time. I used a coin system to portray these encounters. A player can press numbered
coins in the coin holder connected to the targeted Warrior of the opponent. With the coins
stuck, accidental shifting of them is prevented. A second health bar and accompanying coins
were included with inverted colors; one set for each player.
25 The final card overview on the table
23
Because the Ascendance: Rise of Gods concept has its own universe rather than an
adaptation of an existing franchise, I was interested in the process Magic: The Gathering
developed over the years. I was visualizing cards with a background in mind like Wizards of
the Coast do and needed to create something to highlight the cards, rather than alter their
function. As Gods are often paired with bibles or other forms holy writings, I started thinking
about bringing a book to the table.
Collector maps are almost a must for the avid CCGer. Not only is it an easy way to keep cards
safe and organized, but they are also invite trading with others at tournaments or
conventions. What if you could do more with your own holy book, rather than leave it in your
bag?
21 Concept sketch of the book set-up in-game
I created a small bible to be kept on the table during a gaming session. In the back, the two
health bars are attached. They can be unfolded at the start of a gaming session to become the
player‟s mat. In the book itself, the journal with the background information of the game and
its cards is delivered on parchment-like paper. When choosing a God to battle with, the
player can open the book to reveal the pages dedicated to it. It features a larger image of the
God and has custom cut plastic card holders to keep all compatible Warriors near it. At the
end of the story, the official rule set is included, followed by more holders to keep God and
Ability cards in.
The binder is, like the CCG deck itself, fully customizable. Players could decide for themselves
to put which pages where and openly present the collection they are proud of. There are a lot
of options for this book to emphasize a player‟s style. Extra pages with in-game value could
be added, or the switching of covers could be made to boost a chosen playing style. The book
emphasizes the desire to customize by portraying personal choices in a gaming session,
bringing the player‟s own touch into the game.
24
Conclusion
How can visual design be applied to collectible card games in a manner
which enhances player experience?
The visual design of fantasy-based collectible card games has altered little over time. Art and
other content on cards is designed and positioned to be easily recognized by the player and
the opponent. It is important to ensure art complements the game mechanic or at least is not
misleading to a player. The current standard of visual design in CCGs consists of providing
the player a recognizable and clear visual translation of the game‟s content. This often
happens in a standard format.
Cards are considered the heart of a CCG and bring new content in expansion packs. Due to
these sets, there is more room for visual improvisation rather than innovation. Cards need
continuity and cohesion visually, especially if they are applied to a certain setting. Cards must
remain the tools of gameplay and be portrayed as such.
Most CCGs are based on an already existing franchise. The visible link on a card to this
setting is mostly text and a representative image. Applied artwork on the layout enhances the
credibility of the setting by making familiar references to the universe and remaining
cohesive with the franchise. This is, after all, what appeals to the fans of the franchise. If a
universe custom to the game is created, the (visual) design process is optimal when the
setting and cards iterate on their design together, rather than having one existing only for the
other. Art in general can enhance a game experience like this by providing enough detail for a
player to immerse.
The art of analogue games in general knows many ranges of portraying the most elaborate of
game mechanics. CCGs do not often have different artistic renderings than cards, but there
are exceptions. Physically portraying game mechanics such as currency, hit points, certain
connections between opponents and areas make gameplay less complex. These renderings
take intensive thinking away by simply showing themselves. Visual expansion in-game
influences a game experience by making it more accessible to a player and leaving them room
to enjoy the play. Visual expansion outside of the game, in the form of player mats, collector‟s
editions and more, improve the entire experience around a session, mainly by appealing to
the player‟s desire to collect what they like.
The visual design for Ascendance: Rise of Gods became a product of my view on art in games.
It serves as a proof of concept and a visual theory on how art could enhance a regular
collectible card game experience. While visually designing Ascendance: Rise of Gods, I aimed
to draw the player in the game‟s setting by including an extra in-game component
emphasizing the cards and by making in-game progress visible. By creating a compelling
setting, portrayed in both cards and the aforementioned usable extra‟s, I provided the player
a universe to immerse in. These elements bring the fun from outside the game a bit more into
the game itself - and on the table.
25
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24 Trading Card Game
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List of images
(images not listed were created by myself)
1
2
3
4
5
6
7
8
9
10
11
12
13
Magic: The Gathering
Lord of Pit card
Legend of the Five Rings
Holy Home Village card
Pokémon Trading Card Game
Kabuto card
Yu-Gi-Oh! Trading Card game
Judgment of the Desert card
Pokémon Trading Card Game
Wartortle card
Pokémon Trading Card Game
Phione card
Conquest Tactics
Fire Shield card
OZ Collectible Card Game
Dorothy card
Phase
Knight of Duty card
Battlestar Galactica Trading Card Game
Raptor 301, Galactica, Boomer
and Number Six cards
Battlestar Galactica (2004 TV series)
Promotional picture of cast
Battlestar Galactica (1988 TV series)
The Battlestar Galactica
Battlestar Galactica
Part of the boardgame
Raptor‟s Revenge
Screenshot
Power Rangers Collectible Card Game
Mega Dragonzord, Mighty Morphin
Power Rangers and Sabre-toothed
Tiger Dinozord cards
Mighty Morphin Power Rangers (1993 TV series)
Promotional picture of cast
14 Magic: The Gathering
Whippoorwhill card
15 Ren Faire
Full costume example cards
16 EVE: The Second Genesis Collectible Card Game
Card packs and currency
17 24 Trading Card Game
Individual player’s mat
27
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www.boardgamegeek.com
www.boardgamegeek.com
www.boardgamegeek.com
www.webdck.com
www.collectorscache.com
www.boardgamegeek.com
www.boardgamegeek.com
www.boardgamegeek.com
www.iconusa.com
www.screenrant.com
www.battlestarwiki.org
www.periscopedepth.com
www.kotaku.com
www.bandaicg.com
www.powerrangersunion.
blogspot.com
www.wizards.com
www.boardgamegeek.com
www.boardgamegeek.com
www.boardgamegeek.com
18 Tournament players
www.alleycatgames.
wordpress.com
19 Anton Pieck
Flappie illustration
www.antonpieckmuseumhattem.nl
www.pbase.com
20 Maori warrior
28
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29