When I was young, I loved to stare at the maps on the inside of my favourite fantasy novels. Just stare. Without any words, they evoked a feeling of adventure, of space, things to be seen and experienced. This is the basic premise behind Glory. I wish there were more roll-and-move games, like monopoly, but with more choice, and more like those maps that would so enthrall me. So I tried to make one.
This is an hour and a half long game, and yet my design process had one golden rule: max complexity for min rules wording. This attitude really helped to dig out as much insight as possible from playtesting. I credit three major results to having this strict parameter. One, I spread most of the complexity out of the rules booklet into small pieces through the character boards and cards. This disperses the mechanics, making them digestible. Two, permission is given to the players to come up with a resolution when there is ambiguity- room for discussion of what should happen when funky mechanics meet each other. This means that the rules writing task was about making moments of ambiguity contained and fun- but not absent. This is a tricky balance, and a risk, but I think it's worth it. There should be at least a little room for creativity on the margins. And three, dry erase markers simplify things dramatically. No tracking beads, flipping things, tapping things, moving things around- literally, the player changes the cards, writing things down straight onto the game. I cannot express how much wording and complexity this simple materials change made.
Oh ya, and be prepared to risk dying in order to win the game. I thought it was an important goal to work in. You got'a make it so you need guts for glory, if you wan'a say no guts, no glory. So that's what I did.
About the Designer
Jeremy Hogg has a picture on his desk of the Earth, taken from beyond the rings of Saturn. His favourite colour is philosophy. He gets dry hands easily, but he can make a good chili. He thinks that board games have the potential to bring people together, provide a lot of amusement, and maybe give people a chance to practice different kinds of thinking in a fun, risk-free environment. He lives in Grande Prairie, Canada.
About the Illustrator
Simon Seene is an actual warlock's familiar, which brings a lot of insight to the project. We wanted to try a tough creative concept wherein there is a sort of art crescendo starting from the goods cards, thought the battle cards, and into climatic dark full-colour poster art for boss battles without frames or abstract elements. Fortunately, Simon was able to magic everything into shape and it looks AMAZING. Thanks, dude.
Mr. Seene roosts in Munich, Germany.