An abundance of attention is given in board game spaces as to whether a game is balanced. 110% of that attention is paid to how mechanisms work in relation to each other and the win condition(s). But balance can apply to all elements in a design.
Balance is the distribution of 'weight' or importance within a composition. In order to be balanced, all sides must maintain equilibrium. In terms of mechanisms, a game is considered balanced when all players have an equal chance of winning based on starting position. In design terms, balance is one of the key ways to create unity. Balance helps reign in emphasis by keeping the focal point from taking over the design.
Balance can be achieved thru symmetry or asymmetry. Symmetry is when all design elements have equal weight. Symmetry creates a sense of stability in a design. One way symmetry creates stability is by repeating patterns and motifs across a design. Symmetry in most elements can help to emphasize a focal point. Bilateral symmetry is when one half mirrors the other. The easiest way to describe bilateral symmetry in game terms is to look at two player games. If both players have access to identical resources and abilities and set-up positions at the start of the game, then that game has a high level of bilateral symmetry. Boards with bilateral symmetry are often easier for new players to contextualize. Radial balance or radial symmetry is when elements extend out from a central point in many directions. All games played around a table should have visual radial balance in the components. Especially in competitive games, all public information should be readily perceivable by all players. Crystallographic balance or mosaic balance, aka 'allover pattern' is a constant repetition of a quality. A grid of tiles (or an Andy Warhol print) exhibits this type of balance. Each tile, or board in a campaign game, or expansion, or episode should feel like it fits as part of the whole.
Asymmetry exists when elements are noticeably different but have equal weight. Asymmetry feels less formal than symmetry. Asymmetry can be deployed by increasing variety. Asymmetry in board games can be found in player powers, one vs. all gameplay, player elimination, round length, and board layout. Wingspan has asymmetrical round length, with players taking more actions each new round. Point salad games have high asymmetry in scoring.
Imbalance creates tension. Too much imbalance creates chaos. A perfectly balanced game has little excitement. Most gameplay exists in the space between perfect balance and total imbalance. Encouraging players to take risks (that are real risks, not merely perceived as such) generates greater imbalance but also greater engagement. Card art with intentional imbalance can add to the spooky feeling of a horror game. Well-executed, imbalance can simply feel like forward momentum, that the game is hurtling toward its eventual, but not inevitable, conclusion. In scoring terms, the goal of most games is to be the player to achieve the best/most imbalance.
The various types of balance (and imbalance) should be considered in every aspect of designing a game. Does this element bring stability or tension? Does this element reinforce other elements? Does this element draw too much attention away from the overall design vision? In other words, is my game balanced?
In this series, I'm outlining the principles of design from a perspective of how they relate to board game design. If you want to read more on your own, the main reference I use is Design Basics by David A. Lauer and Stephen Pentak. Available here.
Balance is the distribution of 'weight' or importance within a composition. In order to be balanced, all sides must maintain equilibrium. In terms of mechanisms, a game is considered balanced when all players have an equal chance of winning based on starting position. In design terms, balance is one of the key ways to create unity. Balance helps reign in emphasis by keeping the focal point from taking over the design.
Balance can be achieved thru symmetry or asymmetry. Symmetry is when all design elements have equal weight. Symmetry creates a sense of stability in a design. One way symmetry creates stability is by repeating patterns and motifs across a design. Symmetry in most elements can help to emphasize a focal point. Bilateral symmetry is when one half mirrors the other. The easiest way to describe bilateral symmetry in game terms is to look at two player games. If both players have access to identical resources and abilities and set-up positions at the start of the game, then that game has a high level of bilateral symmetry. Boards with bilateral symmetry are often easier for new players to contextualize. Radial balance or radial symmetry is when elements extend out from a central point in many directions. All games played around a table should have visual radial balance in the components. Especially in competitive games, all public information should be readily perceivable by all players. Crystallographic balance or mosaic balance, aka 'allover pattern' is a constant repetition of a quality. A grid of tiles (or an Andy Warhol print) exhibits this type of balance. Each tile, or board in a campaign game, or expansion, or episode should feel like it fits as part of the whole.
Asymmetry exists when elements are noticeably different but have equal weight. Asymmetry feels less formal than symmetry. Asymmetry can be deployed by increasing variety. Asymmetry in board games can be found in player powers, one vs. all gameplay, player elimination, round length, and board layout. Wingspan has asymmetrical round length, with players taking more actions each new round. Point salad games have high asymmetry in scoring.
Imbalance creates tension. Too much imbalance creates chaos. A perfectly balanced game has little excitement. Most gameplay exists in the space between perfect balance and total imbalance. Encouraging players to take risks (that are real risks, not merely perceived as such) generates greater imbalance but also greater engagement. Card art with intentional imbalance can add to the spooky feeling of a horror game. Well-executed, imbalance can simply feel like forward momentum, that the game is hurtling toward its eventual, but not inevitable, conclusion. In scoring terms, the goal of most games is to be the player to achieve the best/most imbalance.
The various types of balance (and imbalance) should be considered in every aspect of designing a game. Does this element bring stability or tension? Does this element reinforce other elements? Does this element draw too much attention away from the overall design vision? In other words, is my game balanced?
In this series, I'm outlining the principles of design from a perspective of how they relate to board game design. If you want to read more on your own, the main reference I use is Design Basics by David A. Lauer and Stephen Pentak. Available here.
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