AI art generators is something of a divisive area at the moment.

Some praise them as game-changing ideation tools, others worry about the ramifications around ownership and whether AI could even threaten to replace designers in some sectors.

If anyone hasn’t played around with an AI art generator yet, you can get a flavour for the quality of images you can produce from the pictures above… We typed in the prompt ‘Toy Inventor’ to get those, just in case you’re wondering if we went with ‘Bald Bearded Guy Tinkering With Robots’.

So, should designers and inventors working in the toy and game industry embrace AI? And are its benefits limited to ideation, or could AI-generated visuals boost a concept’s chances in a pitch?

We asked figures in the industry for their thoughts…

Dan Klitsner, Founder, KID Group
I think AI art and ideation is the future because it’s like the 3D printer revolution – but for your brain! Learn to use it like a tool; like you would any other that has appeared in the last 20 years. It’s going to get to the point that if you can describe it, AI can visualise it and show you variations that would’ve taken you hours to create. With the right prompts and an experienced game designer, it’s a game changer for idea generation.

Westley Ciaramella, Partner, Catapult Concepts
I do enjoy the stylised imagery that can be generated from AI. Though for invention, I typically like to infer what I am looking at to imagine something new and different. Telling an AI to create my vision isn’t as useful as, say, just a general Google image search.

Luc Hudson, Co-Founder, Triclops Studio
I am torn between diving in and seeing what all the fuss is about and steering well clear because I don’t feel like I need to generate artwork from other people’s original material when I can draw myself. The hope is that the current situation will play out like when Photoshop was first unveiled and photographers feared for their livelihoods. What actually happened was that amateurs went to town with the one-click filters so that lots of work looked over-produced and samey – glamour over talent. Photoshop’s usage has morphed into a must-have complimentary tool for drawing, compositing and colouring, but it still needs a competent creative to get the best out of it.

Rob Ames, Co-Founder, Triclops Studio
When 3D printers first came about it was scary for the toy industry… “Everyone will have one and they’ll just print their own toys at home!” Obviously, that didn’t come to pass because people quickly realised that the skill is in CAD modelling whatever you’re printing, sanding it for a few hours to get it smooth, painting it and assembling it. You still have to have the skills to create. The AI tools are definitely shortcuts but it feels like without an innovative mind to set the parameters, the results will just be like an enhanced Google search. Coercing or interpreting the results into something cool and tangible is where the skill lies.

I’ll leave you with a Charlie Bucket analogy… Mr. Bucket was laid off from the toothpaste factory because the machines were faster – but then he was re-employed to fix the machines which kept breaking down.

Rebecca Bleau, Lead Designer, BlueMatter Games
AI has already become an important prototyping tool to help us iterate our prototypes to convey ideas. We design a lot of experiential games and we can’t just use random images. We need each image to serve a specific purpose, so we still have to have a deep understanding of tools like Adobe Photoshop and Illustrator for AI to be effective. AI is enhancing our creative process, not replacing it.

Gary Pyper, Founder, Fun-Damental Invention
I draw comparisons with the emergence of AI as a design tool with the emergence of 3D CAD visualisation in the early 2000s. Back then, as a tech luddite, I remember walking the halls of New Designers, chastising student presentations for being soulless. These new products appeared formulaic and bland, limited by the constraints of the software that produced them. But as the tools developed and our engagement with those tools changed, so did the output.

My experimentation with AI concept generation is comparable. My output to date is uneasily juxtaposed, having the air of the “unreal” and in turn, conceptually unconvincing – but it’s early days. Morally, the regurgitation of other creators’ assets is dubious and contentious, but is it any different to the internal process, of inspiration, mimicry and physical recreation? Unlike AI, I use my empathic human intelligence to visually connect with my customer.

Undoubtedly, it’s a powerful tool, so the question is: who knows best? Me or my Mac? For the moment at least, I think we both do.

Darren Lee Philipson, Toy & Content Development Architect, design_lead_play_
I completely understand why AI-generated artwork is a divisive conversation at the moment. Personally, I am a huge proponent of AI, specifically Midjourney. I think the best way to look at something like Midjourney is to consider it as another tool in your tool belt, similar to how Photoshop, Illustrator, Keynote and SolidWorks have become staples for most designers. Whereas I would typically use the internet to research and provide inspiration images to my clients, I now use Midjourney, which gives me a much more focused and ownable visual. There is a definite artform to using AI and creating visuals that meet your needs. I do think the output is only as good as the input – the way you structure your descriptions is key.

I’m excited about the idea of being able to create a visual in AI and the software is then able to produce the various views in order to print a 3D model… I guarantee this is in the works and coming to our digital devices soon! It will not be long before we start seeing postings for AI product designers.

AI design is here to stay and will continue to advance, both from a technological and practical point of view. I would advise all designers and inventors to embrace the technology and learn how to use it to your benefit… By the way, I am only saying all this as I know the robots are listening!

Fi O’Malley, Director, Making Things Studio
We’ve played around with it, but it won’t become a staple in our creative process right now. We need to be in the business of ‘1+1 = 3 thinking’, not ‘1+1 = 2 thinking’ – essentially everyone getting the same output if you input a couple of words.

It’s a phenomenal piece of tech but one that’s shrouded in legality issues. For us, ‘mash ups’ of art forms and visuals is just one small piece of a very big ideation pie. We aspire to create original, strategic and commercial creations.

That being said, competition is healthy – even if it’s a computer – and it’s given a ‘creative voice’ to those who typically couldn’t produce that level of visual output. The Nike x Tiffany’s launch was a great example of this. Did the timing of Nike putting out what some fans deemed a lacklustre collaboration with Tiffany’s propel AI in stardom while bloating it as a creative superpower? There’s no denying Nike had the creative talent in-house to create what the AI could, and more!

Hopefully, rather than enraging fans of brands amid the media hype of AI replacing creative jobs, AI can instead have a positive “we’d love to see this version” twist to it. Who knows, maybe they’ll be AI community-created sneakers coming to market sooner than we know it – if not already? I haven’t been on Google yet today to check… I’m out and about collecting inspiration for my brain that no AI machine could conjure – the competition is on, bot!

Kasper Lapp, Game Designer (Magic Maze, That’s Not a Hat, Fun Facts)
It’s been incredible to follow the development of the AI art generators. I have already used many different ones for a lot of prototypes. The most useful case has been art for a Dixit-style game where pictures are a central part of the game – I needed some dream-like pictures. It would have been difficult to find those without AI.

The most fun use has been for a game where I have different combinations of animals, such as a frog-elephant or a tiger-crab.I would not have been able to find images of those anywhere else. That said, it wasn’t really necessary for the gameplay and the game was fine without the images, so I’m not sure that AI art really did me a favour there.

AI art can be a great tool for a game designer, but it can also be a time trap. I have always tried not to spend too much time on art for my prototypes, since publishers should – at least in principle – be able to see through it. And even though AI art is theoretically just ‘write a prompt and get a picture’, in practice you will often end up trying out a lot of different prompts, creating variations and so on.

AI art at the current level is often ‘good, but not perfect’. There are always little details that could be improved, so you have to set your bar at a reasonable level in order not to spend too much time on it.

Nicholas Cravotta, Lead Developer, BlueMatter Games
With more complex games, identifying blind spots and balancing strategies can be time-consuming and require months of focused playtesting. We’re looking forward to when we can build an AI to win the game, then build another AI to beat the first one. If one AI keeps winning because of a particular strategy, we can debuff cards or resources to restore the balance.

Adam Borton, Founder, Creating Unique Toys
Any new tool that helps to create toys and games should definitely be looked at, not dismissed. There are many examples in recent toy and game history of people resting on their laurels and their existing skills or knowledge becoming obsolete.

After you’ve tried it out and become good enough to use it competently, you can ask some basic questions before deciding whether it’s something you should continue to learn about. Firstly, before any other question, will it contribute to increasing the quality of your work, either directly or indirectly? If not, then it’s not worth adding to your workflow. Secondly, if it will increase the quality of your work, will it also increase the speed of creating that quality? Not just speed gained through regular use, but is the tool itself faster than existing methods?

I have tried out many of the main text and image generation AI tools, such as ChatGPT, Dall-E and Midjourney. In terms of quality, learning to input the correct question to get a valuable, correct answer is something that needs experience in the speciality – in our case, toys and games. Otherwise, you end up fumbling in the dark and getting bland, generic answers.

Crafting a unique, high-quality toy or game that sells for a long period of time is not a matter of simply coming up with a cool-sounding idea and making it… Even with the help of AI, it’s a lot more involved than that. AI can be used as a tool to fuel ideas quickly, but it’s not a solution to all your creative problems. If you invest your time creating a toy or game based on what AI told you, without knowing whether it’s actually a good idea to work on it – including safety, value and manufacturability to name a few – you may end up wasting a lot of your valuable time and money. It’s like following Google Maps into a lake or leaving Tesla Autopilot on while having a snooze!

Trusting AI with these important decisions at every stage without human experience, intuition or creativity could end up with undesired consequences. It may give surface-level results, but it’s in-depth knowledge and experience that really makes the biggest difference.

Skylar Cravottableau, Developer, BlueMatter Games
I love AI. It has a ton of potential as a super useful tool for prototyping to make something look good without investing a lot of time or money. We’re looking forward to 3D AI. Today, if we want to model a 3D chicken robot for a game component, we have to find a chicken model and a robot model, then blend them together. Soon we’ll be able to prompt a chicken robot and get there much faster!

Courtney Wood, Founder & Director, Bubblegum Stuff
My team use it to get initial inspiration for their mood boards when trying to create a game. It won’t replace my design team but it will 100% help assist and speed up their work.

Geizi Guevara, Creative Design Manager, Jazwares BlueJ team
AI is a great tool for us at Jazwares when used wisely and considerately. We believe AI can give a designer unique and creative visuals to help expand their thinking. It challenges our people to get out of traditional design languages. However, the most critical thing is that it is inspiration only. Other tools like Photoshop or Illustrator are still incredibly important to make sure the ideas are communicated and designed exactly as imagined.

Most toy companies are looking for innovation, and a lot of that tends to be wows in mechanisms, transformations or chemistries. Where Jazwares finds that AI shines the most is visual artistry. You need a deft hand to really focus on pairing away AI debris and getting the results that are in your hand onto the page. AI tools are great thought starters, but don’t neglect the human touch and skills that you can develop in image editing. Ultimately, a designer’s eye and expertise are needed to bring ideas to life as this new technology develops.

Joseph Moll, VP Design, Development and Inventor Relationns, Crayola
This is great topic and does raise some controversy. We’ve tried it out and it’s interesting what we got out of it. If inventors use AI in the ideation process, it throws up questions around who actually owns the ideas, if they got it from AI… I think it’s likely best used as inspiration only; a creative tool rather than something to depend on for your final concept.

Brent Geppert, Senior Product Manager, Educational Insights
Here at Eductional Insights, we are already utilising AI tools like ChatGPT in terms of our process for social media posts, writing copy and research. In my role as product developer, I have used ChatGPT to start brainstorming concepts. I find it to be a great ideas soup starter. I have also – on a personal note – a few weeks ago started a T-shirt business using AI-generated art via Midjourney – see shameless plug: https://konacatcreationz.threadless.com/.

So yes, my point is I wholeheartedly think inventors and all creatives should embrace this technology. It’s almost like asking in 1994 if folks should embrace the “worldwide web”. The answer in retrospect would be “of course, how could we not use this new technology?” I am sure you’re aware the next version and future versions of AI tools will be even more powerful, mind blowing and disruptive – the sooner we all jump on board the better.

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The post “Game changer” or “Time trap”: Inventors and designers discuss the perks and pitfalls of AI-generated art appeared first on Mojo Nation.

Guys, it’s great to chat! You’re no stranger to Netflix adaptations, but your latest licensed game is an adaptation of Squid Game – I’m on board! What came about first, the game or the licence?

A week! Wow!
Yes! We put together a framework for the game that everyone could agree on, then started hammering out the details.

The show sees hundreds of cash-strapped contestants compete in deadly versions of popular children’s games until there’s one survivor left to win the cash prize. Talk us through how you went about translating the games from the show into formats that would make sense at the tabletop.
The three of us – Rebecca, Nick, and Skylar – worked as a team to develop this game. Skylar is our adult son, and he’s been watching us design games for most of his life. This is our second full collaboration with the three of us.

Sometimes we worked alone, in pairs, or all together. This gave us seven different POVs or ways to approach the design process. We were able to put a lot of ideas out on the table and pick the best ones.

We also focused on the experience. While most people have absolutely no interest in participating in an actual death game, they are intrigued about what it might feel like to be in one. We wanted to make a game where you feel a delightful edgy, tense anticipation as you wonder whether you will survive.

And, just like the show, you can help each other. But of course, everyone knows that at some point your allies are going to turn on you.

I imagine each game lets you flex a different design muscle…
Yes, each of the six games has a different feel, just like the show. There’s a blend of strategy and luck with a whole lot of bluffing and double-thinking your opponents. We abstracted the violence, but not the ruthlessness. During playtesting, we found that even people who didn’t like the violence and never watched the show enjoyed themselves and become thoroughly engrossed in the drama.

High praise indeed! Let’s delve a little into each game. The show kicks off with Red Light, Green Light…
Red Light, Green Light is a mad dash across the field. Go too quickly and the Doll will see you. Be too careful and you’ll run out of time. We wanted to capture the element of cooperation, such as when 456 is saved by another player. Of course, you also have the option of giving a player in front of you a little push to knock them off their feet.

Of course! Then there’s Dalgona, the game where players have to carve a shape out of candy without cracking it. On paper that sounds like a tough experience to translate into a board game.
Yes, Dalgona was a challenging game to design. We considered a ‘drawing inside the lines’ mechanic but had to drop this. The main issue was how to determine if a player ‘cracked’ their dalgona. People have a hard enough time agreeing on whether a spinner is ‘liners’ or not. How would that play out if the group had to vote on whether you drew within the lines?

A second issue that affected design is that once you’ve seen the show or played the game, everyone would just pick the easiest shape to draw. We wanted to capture that same feeling of uncertainty when the players in the show pick their shapes but don’t know what they’re getting into. We also thought it important to work in a cooperative aspect, the ‘kick the lighter’ element the show has.

A third issue is that players have multiple team members at this stage, each of whom has to make their way through the game. The final game design utilises a ‘guts’ dynamic combined with a time limit that allows players to press their luck. In this way, there’s the feeling of surprise… Will I crack my dalgona? It also adds the pressure of having to move quickly.

And the design challenges don’t stop there – next up is Tug of War…
Tug of War was one of the more difficult games to balance. At first, it seemed simple enough. We went through many iterations to land on the final version.

One issue was how complex to make the game. Should we pull the rope space by space and eliminate players one-by-one? However, this added complexity and lengthened the game significantly. It also took away from the excitement as it was pretty clear how one team member against four would eventually pan out.

Another factor was designing the game so that a player with more tokens remaining couldn’t just overwhelm a player whose team was dwindling. Keeping the game fast kept the excitement up. Also, having three tug of war rounds to choose from increased strategy and cooperation between players.

Finally, being able to ‘drop the rope’ adds a delightful reversal for additional depth of strategy.

Nice. Then there’s Marbles. In the show, this game only involves two players…
Yes, and because Marbles is player vs player, it needed to be fast. In the show, there are several ways to play such as tricking your opponent, shooting marbles at a target, and making a guess of how many marbles a player is holding in their hand. We thought having two options – shooting and guessing – would capture the spirit of one-on-one battles in a timely fashion.

It’s surprising how intense the Marbles battles can be between players, especially if they have history between them. There’s definitely a “I’ll get you next time” angle to the game.

We’re at the penultimate game: Glass Bridge. This sees contestants attempt to cross two parallel bridges by jumping across glass panels; some are sturdy while others shatter under the weight of players.
Glass Bridge is the most involved game of the six. It’s also the most brutal. We spent a great deal of time working to capture the feeling of the show for this game.

Part of what made it difficult to design was how to get players to move ahead over the Glass Bridge. On the show, the initial players comply and try to cross the bridge in their given order even knowing that they are going to fall. Many game players don’t want to be forced to do something they don’t think is smart. There’s also not much of a game if you’re forced to cross the bridge in numerical order!

For this reason, we focused on how 101, the gangster boss, played. He didn’t care about order, and he had no hesitation pushing another player in front of him to test the glass. And, of course, when you do have to move across the Glass Bridge, there is the delicious moment of choosing which side you’ll jump to.

It does sound brutal. Speaking of which, we’re now at the Squid Game itself…
Squid Game had its own unique challenges. The rules are given at the start of the show – and they’re a bit complex and confusing. In any case, the final two players don’t actually play a conventional round of Squid Game – kids don’t play it with knives!

That’s a relief!
We quickly assessed that coming up with game mechanics for jumping on one foot and becoming the “Inspector General” would require more complex rules than we had space for, given this is the last of six games.

Instead, we focused on the core of Squid Game. In the final, frantic stage of the game, the two players are trying to reach the squid head. They make a run for it, try to push each other out the court, and even attempt to stab each other.

The final piece of design was bringing the entire story into the game. The experience starts with the rules, which include instructions and tips from Front Man. As you play the games, you can’t help but see how your team shrinks in size. There’s always an opportunity to work together, but backstabbing is always a compelling alternative. And, just like the show, you have to be careful who you trust.

The visuals play an important role in making Squid Game immersive and come alive. Your team members are running towards the Doll to survive. You physically flip over the Glass Bridge tiles to see if you survive or are eliminated. And each team member has money printed on the back so when they are eliminated, they are added to the giant piggy bank that goes to the final winner.

You also included the VIPs who watch the games here too right?
The VIPs were fun to work into the story as well. We don’t utilise the betting aspect because it’s much more engaging to fight for the survival of your team compared to betting on which players survive. Where the VIPs do come in is as spectators who mess with the players when they get bored. Tip: Don’t let the VIPs get bored.

I won’t! Now, was there anything about the show that – despite your efforts – just didn’t translate to the board game?
Technically, Squid Game is a death game, which means anyone who survives the final game wins. In playtesting, however, we found that multiple winners simply wasn’t satisfying. Nearly every player preferred a single winner.

And, with a game like Squid Game, winning is better when you’re standing on a mountain of your friends’ corpses. This visual image helped keep us on course whenever there were several ways we could proceed.

Ha! A gruesome but helpful anchor! And did any of the brand’s constraints prove helpful creative fuel during the design process?
Perhaps the biggest design constraint was creating six games that could be played in 45 minutes. This meant each game had to be simple with a few intuitive rules that are easy to learn. At the same time, the game needed to have enough depth to make it fun to play many times. By focusing on the experience, we were able to streamline game play and eliminate anything that got in the way of the fun.

So the ‘six games’ challenge actually paved the way for snappy, fun experiences. Great! Any other examples?
Well, the second biggest design constraint is that Squid Game is, by its nature, an elimination game. In the show, half or more of the players are eliminated each game. Not many people would want a game you have to invite 455 of your closest friends over for. Nor does anyone want to play a game where you can be wiped out in the first round and have to sit for the next hour watching everyone else have fun! We needed to devise a mechanic where lots of elimination is a core dynamic – without dropping players.

A fascinating problem to solve. What was the answer?
Rather than playing a single person, each player represents a team of players. Each game, members of your team can be eliminated. Many of them. To avoid knocking a player out of the game, each team recruits a new member between each game. This way, you always have at least one team member all the way to the end. Successful players will enter the final Squid Game with more players, giving them an advantage. Of course, players who are behind can work together to even out the odds.

We’ll have to start wrapping up but were there any other interesting challenges to overcome?
At the time of design, supply chain issues were at a head. Many companies were having difficulties sourcing components and getting product off boats and to stores.

We were given a list of materials and components we could use. We also had to create the game in record time to guarantee that product would be ready for delivery. It was an extremely compressed timeline, and Asmodee was an amazing partner to work with to achieve this.

Guys, before I let you go, I have to ask… Which out of the games in Squid Game do you think you’d have the best chance of winning?
Nick: I keep coming back to Red Light, Green Light. I’m fast on picking up rules and figuring out loopholes, and there are a lot of angles to exploit in this game, like hiding behind others. I also like the independence of the game; I’m not going to lose because someone on my team couldn’t pull their weight.

Rebecca: I would say Glass Bridge because this game is more about guts and wits than it is about strength or speed. Then again, maybe Dalgona because when I saw the show, I picked the circle.

Skylar: My best bet would be Tug of War because I look stronger than I am. That would increase my odds of convincing a strong team to accept me as a member.

Lovely stuff! Guys, a huge congrats on Squid Game! Let’s tie-in again soon.

The post BlueMatter Games’ Rebecca Bleau and Nicholas Cravotta on designing Asmodee’s Squid Game board game appeared first on Mojo Nation.

Hi Nick, Hi Rebecca! Thanks for joining us. Let’s get the background right first… Nick, you’re an author and game designer. Rebecca, you’re a designer and illustrator. Together you’re the founders of Bluematter Games. Tell us about that! How did it come about?

To see how things worked? Or to try your luck?
Nick: A bit of both! I was a magazine editor at the time, and it never occurred to me that I needed to make appointments beforehand. I just showed up – I didn’t know I couldn’t do it… I had a bit of pressure to postpone the trip to attend another event, but I was excited about Toy Fair and kept to my plans. That year, there was a huge storm, and I was on the last plane that made it to New York. By the way, the tile game eventually became Acuity and is still available from Fat Brain!

Interesting… How soon after that did it become more than just a hobby?
Rebecca: Quite soon. Initially, we started designing games on the kitchen counter. It quickly became clear that we were going to need more space if we were going to make our company successful, though. During one of Nick’s business trips, I cleared out a room and turned it into a design studio dedicated to making games. That’s when BlueMatter Games really started to take off.

And is that where you work from now?
Rebecca: No – I later redesigned our three-car garage as a work studio and again, our company blossomed. Then – about seven years ago – we wanted to design more puzzles and escape rooms, so I built out what we call our Puzzle Loft. It’s a room dedicated to making and doing puzzles… The room itself is a puzzle as well.

Wow. I like that you invested more and more space in it. You now have quite a range of games on the market. Which are your biggest sellers?
Rebecca: We’ve designed more than 80 games and puzzles that have gone to market. Some of our bestsellers would be PicWits, by Mindware… That’s a party game a five-year old can play with an 80-year old. It’s one of our first games and still selling strong. It’s also spun off a younger version, PicWits: Silly and Sweet.

Nick: Buggzle from Fat Brain made the top-ten list for gifts for toddlers. Escape the Room sells well… Working with ThinkFun, we released the first commercially available tabletop-escape room. The line has been very successful, and the fourth title will be available later this year.

So that’s the Escape the Room series? What was the first one called?
Nick: Mystery at the Stargazer’s Manor. It’s still on many escape-room ‘top-ten’ lists as a great ‘first’ escape room. It was followed by Secret of Dr. Graveley’s Retreat. Our latest, The Cursed Dollhouse, sees players try to escape from a dollhouse they build on the table.

These have all been with ThinkFun?
Rebecca: Yes – ThinkFun’s been an outstanding collaborator for these games, and we couldn’t have done it without Tanya Thompson, Katie LeSeur, Josh West, and Melinda Contreras.

Let me ask you this: how do you go about coming up with ideas?
Rebecca: For us, creativity has two critical aspects: environment and nature. Environment refers to creating a safe space to be silly and inventive. Our favourite place is the hot tub. We’ll shoot ideas back and forth in there…

So no whiteboard, no notebook?! No wall of Post-it Notes?
Rebecca: Well, no! I mean… Nick usually has a notebook with him, but not in the hot tub. And because we’re not writing those ideas down, we let most of them go. On top of that, Nick can only remember three items at a time, so we keep just the three best ideas from any one session.

Nick: Nature refers to how we think. Both of us would probably be identified as learning disabled if we were in school today. Instead of believing we should try to think differently from how we do, we embrace our individual styles, and have spent years working together to foster and support each other in our unique ways of seeing the world. Being “funny brained” is one of our greatest assets.

‘Funny brained’… Fantastic. And if being funny brained is one of your greatest assets, what’s not? What’s you biggest impediment to creativity?
Rebecca: Stress is one of our biggest impediments to creativity. We live in California. It’s expensive to live here. Early on, we decided not to require BlueMatter Games to keep us in our house. So we kept Nick’s freelance business going to handle living expenses. That means we’re not forced to land several games with the big companies each year just to stay in our home. That kind of stress can really limit one’s thinking.

Makes sense…
Rebecca: This approach has been critical in keeping our creativity free to explore any idea we want. We recognised early on that ego is a potentially nasty wedge for teamwork. We acknowledge that the spark of an idea is essential, as are the long hours to develop that idea. But you don’t have a product if you don’t have a spark and can’t put in long hours.

And when you’re going ahead with one idea over another, does one of you tend to own it? do you divide responsibilities?
Nick: Not exactly, no. We take team ownership of ideas. Sure, often one of us is the lead for a particular concept. However, without each other, we wouldn’t be where we are today. Burnout is another issue we face. To beat it, we take time off and cycle through other creative endeavours.

For context, what might they include, for example?
Nick: For example, I just finished my latest science-fiction novel, Fractured. Rebecca creates fine art, and has been developing her Botanical Prints series. She also regularly adds to the sculpture garden. And somehow she always finds time to embrace the belief “My life is art” by doing something crazy – like running prints of a school of fish up the stairs.

How, then, do you overcome a creative block?
Nick: We overcome creative blocks by being intentional, having balance, anticipating problems and challenges, and tackling issues before they explode in our face. As an example, we started BlueMatter Games as parents of two small children. We saw the potential problem of not having enough time to start a business and raise two kids…

Did you get rid of the kids?! Is that where this is going?
Nick: Ha! No! But we spent an evening talking and decided to turn our three-year plan into a seven-year plan. We also make space for creativity, not just for games but for our other endeavours. It’s all part of balance. At one point, BlueMatter started taking over the whole house. Now, though, we set limits and we intentionally carve space out for other ways to be creative. Having an empty nest has been challenging but… I now have a writing room, and Rebecca has a full fine-art studio. An interesting bonus to this approach is that our different creativities feed each other.

Rebecca: We’re always open to new game ideas, but we talk about so many other things besides games. We also feed ourselves with experiences. We go to museums, travel, see other people’s creativity, and play play play. One of the more challenging aspects of COVID for us is that we couldn’t do what we usually do to keep our creative juices flowing. So we had to come up with new ways to keep ourselves challenged and inspired… Which is another kind of game!

One title of yours that caught my eye is the Queen’s Gambit board game. How did that come about? What essence in the TV show did you tap into for the game? How did you make sure you translated the show’s qualities from screen to shelf?
Nick: Rebecca was a huge fan of the show early on. She liked how Beth’s brain worked and wanted to capture that experience for people to think ahead like her. We wanted to honour the show, so we focused on the scene where Beth looks up at the ceiling and can see all the pieces moving. We call this “working in the sandbox.”

Working in the sandbox?
Nick: When an idea starts, we imagine a huge beach with no edges. Anything can be done. And that can be daunting. There’s no definition. So we build a sandbox. The sandbox edges give us something to push against, to form the foundation for ideas, and to make something truly authentic. That scene with pieces on the ceiling gave us inspiration but limits as well. Both are critical for creativity.

Rebecca: Part of our drive to make this game was to share the idea that being ‘funny brained’ can be a gift if you treat it as a talent, not a disability. Our next step was to share the idea with Asmodee and create slides to help them sell the game to Netflix. With everyone on board, we designed the game. Asmodee was a great partner in this process. They saw the vision for the game. You can see how well they captured it in the promo video they created if you’d like a link?

Sure! We’ll put that in. And to clarify, is this your first licensed title?
Rebecca: Actually, no – our first licensed title was The MacGyver Escape Room from Goliath. That was a blast to create!

A MacGyver escape room! Makes total sense. Okay… What’s next for you?
Rebecca: We can’t say the name yet, but our next big game based on a Netflix show will be available the first week of August at Walmart US with worldwide release in October.

Nick: We’ve also got 9th Circle coming from R&R this year. The original seed for this was to design a strategy game with no luck, no first-player advantage, and no seating order dependencies… Your guts and ambition are your own limits! We’re launching it as an upcoming Kickstarter. We’re also expanding the experiential game category as well. Crack the Crate: A Dragon’s World came out this year based on Mindware’s Dig It line. It’s an adventure experience for ages eight and up where you get to rescue a baby dragon. Need we say more?! Crack the Crate #2 is currently in development. Oh, and our first murder-mystery jigsaw puzzle, The Art of Murder, just came out with University Games.

What’s the story there?!
Rebecca: A gallery owner is murdered and the six artists in the show are the suspects. The twist is that all the artists claim credit for the murder to increase the value of their art. It was a wild adventure to create and a whole family endeavour. Our niece-neph Rayven was the photographer for the project. Nick was the model for the gallery owner. Our youngest was one of the suspects…

Nick: Rebecca made a gallery of art and engineered the killing sculpture. We turned one of our bedrooms into a murder scene, with blood splattered everywhere. We’re just wrapping up another murder mystery for University Games scheduled for release later this year. We’re shooting the tub murder scene tonight, actually! We’ve also just completed two adventure experiences for Ravensburger due to release in 2023.

So busy! Well, listen, thank you so much for joining me to talk about all this. I’ve really enjoyed hearing more about you. Final question… What’s the most interesting object in your office or your desk?
Nick: Cleaning Puma lives on my desk and lets me know it’s not okay to live in a mess. In addition to representing sanity, Cleaning Puma represents the need for magic in my life.

Rebecca: I have a Red Horned Mushroom Jackalope. The Red Horned Mushroom Jackalope is a woefully endangered species. This one is currently being ‘rehabilitated’. Our home is an official Jackalope sanctuary. We find them out in the world hiding their true nature. I like rehabilitating them so they can express their true selves.

I’m glad I asked; that isn’t the least bit disturbing! Nick, Rebecca… Thank you so much for your time.

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The post Starting up, carrying on and creating lots… Rebecca Bleau and Nicholas Cravotta on running Bluematter Games appeared first on Mojo Nation.