January 17, 2017

 By Anna van Slee,

formerly Co-Founder, otherdoor entertainment

now Director of New Brands, Sideshow Collectibles


Five thousand years ago on a Saturday night in Egypt, a 32-year-old grandma probably eased her aching, linen-toga-swaddled behind into a well-worn wooden chair to play a board game with her grandkids. Today, I might play the very same game, but wearing blue jeans and sipping ice-cold beers, after a hard day’s work spent sitting in front of a computer.


People have been playing board games since Homo sapiens have had time to think about anything beyond surviving from one moment to the next. Board games are one of the earliest expressions of culture, along with language and art. And it’s no wonder why: games teach players about strategy. And whether we live in adjacent mud-brick huts or skyscraper apartments, the key to a successful existence in society is advantageously balancing risk and reward.


Like all forms of play, board game play lets young minds begin to comprehend these facts of the adult world in a fun and safe environment. Games also let adults such as myself take out-ofcharacter risks and experiment with new strategies – casting off stress in the process.


While these cathartic psychological foundations of board games have not changed, how humans process information and communicate with each other has changed quite a bit. In this article I’ll explore how social media has shaped human thought, and how those changes can be incorporated into board game mechanics to make the games themselves more relevant, intuitive and dynamic.


UI Straightens the Learning Curve

One of the biggest obstacles preventing people from getting into a board game is the directions. I recently sat down with my husband and a good friend to dig into Star Trek: Expeditions, but it took us 90 minutes of studying the rules before we could actually start to play. 



Authors of board game directions could learn a lot from the intuitive interfaces utilized by social media. These interfaces are engineered to get the user using the media as quickly as possible. So too with board games: Players are there to PLAY. The first step to helping players do just that would be to forgo traditional print organizational elements such as the introduction and table of contents, and skip right to setup. Story introductions and flavor text are essential for player immersion, but those elements should be kept in-game rather than in the directions. Organizational elements, like chapters, are most relevant to the player after they have already jumped in to familiarize themselves with how to play.


Consider how social media, such as email, handles this: Whenever Gmail makes an update to its services, I’m given the option to click through a very visual step-by-step example of the new feature in use. If I choose to close that window without going through the tutorial, Gmail very helpfully points me to where I can access that demonstration or an index where I can quickly and easily look up any specific questions.


Pictures > Words

Social media relies heavily on images to communicate quickly and effectively. Everyone knows what a button with an illustration of a trash can means. People don’t just like pictures; they expect them. Incidentally, this is something that Expeditions (eventually) does rather well. After slogging through some intro copy, the directions provide full-page, full-color photographs showing how to set up the game board.


I have about 15 board game boxes currently stacked inside my living room coffee table. These games were all purchased within the last White Paper 2012 decade. I took them out and surveyed the number of pictures in each game’s directions: Only two games used images in their directions and only one (Expeditions) used those illustrations to help me set up the game.


Furthermore, only 5 out of the 15 games used imagery elsewhere – on the board and playing pieces themselves. The need for pictures extends beyond directions, too. People are accustomed to using visual markers to sort information. Special font treatments for headlines; color-coordinating set-up information; and using visual tags to mark and categorize indexed information are all intuitive ways social media organizes information that users take for granted, which can be utilized by board games for a more instinctive game play experience.


User vs. Player

But images are most invaluable to the goal of involving the user in the world of the game. Which raises the most fundamental question in the process of integrating social media thinking with a board game: What’s the difference between a user and a player? The answer is in how much control each has over their engagement. Users are utilizing the media as a tool to communicate something. Players are engaged in an invented world/premise/mission/story for a prescribed amount of time. Players are dictated a set of rules and they can only express themselves within that given set of parameters. The more opportunities players have to express themselves, the more they will enjoy themselves - and the more engaged they will be in the board game. There are a million different ways I can communicate with my friends via social media: I can post on their Facebook wall, send them a text, tag them in a photo, send them an email… Giving players the ability to select from a range of communication channels is as important as giving them more opportunities to express themselves.


One of my favorite aspects of the game Munchkin Zombies is the table talk. Players can openly barter and trade with other players, directly affecting the game.




A lot of games encourage table talk, but I have yet to see a board game take advantage of the myriad selective communication capabilities that people are used to via their social media. For example, how many other players can be communicated with at once; how long the message itself can be; and how quickly that message can get to the intended recipient. There’s some inherent fun waiting to be exploited in each of these aspe