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Laser cutting is something that I use a lot in my prototyping process because it is a (relatively) easy way to make a 3D object with a certain degree of speed and precision, but it can be a tricky thing to navigate if you’re just starting out with digital prototyping. There is a lot of ground to cover so this post will be separated into 2 parts. The first will cover basics such as vectors, file preparation, materials, and ordering. The second part will get into the nitty gritty of prototyping with a laser cutter, taking a look at various techniques, types of joinery, and resources. Overview How does a laser cutter work? Basically, a laser beam is reflected off a lens that is focused on a material, moving on an XY (and sometimes even Z) axis as it burns through that material in order to cut through or take away surface material. A laser cutting machine is generally capable of doing 3 things: cutting, scoring, and engraving (also known as raster etching). What’s the difference between the 3? Cutting is pretty self explanatory - the laser cuts through the material by following lines drawn on a computer program. Scoring is essentially the same thing as cutting but using a lower power level so that the laser doesn’t cut all the way through. Raster etching is similar to scoring, only instead of following a line it renders a black and white image on the surface by going back and forth and cutting material away, similar to how a printer cartridge moves back and forth while leaving ink on the surface of a page. If you want an engraving that has areas filled in, you would only be able to do that with a raster etching. Vectors and File Preparation One important thing to note is that laser cutting and scoring require graphics in the form of a vector drawing, whereas a raster etching can handle other types of files, like .jpgs for example. However, if you’re doing something that only requires linework, you’re much better off drawing it as a vector because scoring a line takes significantly less time than engraving a line from a raster drawing. Why? Because instead of following a line around a shape, the laser head has to go back and forth dropping little dots like a printer. Keep in mind that the depth of scoring or engraving can also be controlled in the power settings, so you can request a lighter or heavier engraving, or even make use of both to create contrast. But what is a vector, anyway? A vector graphic uses lines and curves to create shapes rather than using pixels. This allows the image to scale up and down without losing resolution or becoming “fuzzy.” Text is usually rendered as a vector, which is why it doesn’t get blurry when you zoom in, but in order to cut or etch some text, you will need to convert it to an outline, otherwise it would be raster etched by default. In Illustrator you can do this by selecting the text and going to Type > Create outlines. Note, however, that once you convert the text you will no longer be able to edit it. You will also need to set your line thickness to either “hairline” or .001, depending on the program you’re using. Otherwise, it may not be properly interpreted by the machine and could be engraved instead. Popular programs for drawing with vectors are Adobe Illustrator, AutoCAD, and Rhino. I’m not going to teach you how to use these, but there are plenty of great YouTube tutorials. (If you are looking to hire someone to do this for you, it is a service I provide on a freelance basis, so feel free to contact me about your project.) Most laser cutting vendors offer this service for a fee as well. You can also read more about vectors here. Laser cutting facilities usually have their own preferred file setup. Most of the time this will just mean changing your canvas size (to match either the size of their laser bed or the size of your material) and changing the colors of your lines. It’s best to keep your raster, scoring, and cutting lines on separate labeled layers. Here’s an example of one company’s file prep guidelines, where they specify different color coding for rastering, cutting, and scoring. What they don’t mention is that your selected colors should also be “pure,” meaning that in the RGB color selector your black must read as 0,0,0, red is 255,0,0, green is 0,255,0 and blue is 0,0,255. If you have shapes that are made up of many lines, be sure to “join” those lines in your vector program so that the laser reads them as one continuous line rather than cutting them in segments. This will not only save time but will also prevent additional burn marks as the laser starts and stops. If you have shapes or lines that cannot be joined, I recommend ordering the layers in a way that makes cutting more efficient. To give you an idea of what I mean, pretend you’re cutting these shapes out of a piece of paper - you’d probably start on one corner and work your way down or across, rather than cutting out pieces from all sides randomly, right? The laser wants to do the same thing. Causing the laser head to move back and forth across a large area will waste a lot of time and end up costing you extra. Materials Common materials used for laser cutting and etching are paper, cardboard, wood, MDF, acrylic, metal, and even leather. Materials like wood and paper can sometimes end up with burnt-looking edges from the laser. When it comes to wood, some companies offer a masking service where they tape over the surface of the wood to prevent the burnt look. Whether or not it is worth paying extra for really depends on the company, the cost, and how much that matters for your project. If it’s just a prototype, don’t worry about it too much. If it’s a finished piece, see if you can get a sample from laser cutter, because some providers leave more burn than others. Here is a fairly drastic example of no tape vs. tape. Keep in mind that if they don't take off the tape for you, that's more work you need to factor in for yourself, (which doesn't seem like a big deal unless you're doing it 100 times.) Also, if your wood is warped, an etching/scoring may not come out perfectly even across the whole image. This is because the laser is focused at a certain point on the Z axis, and if the material is not flat, the line can go out of focus and become thinner or thicker in some areas. Here’s an example where the snake on the bottom was scored correctly, but the top piece of wood must have been sitting warped on the cutting bed because the line looks thick and inconsistent. One other thing to note with wood is the grain direction. If you’re making any small parts out of wood, make sure the grain direction is running the long way. Otherwise, the piece will easily snap in half. Think carefully about your tolerances in general as well. Lasers can cut with great precision, but anything thinner than 1/8" or 3mm can easily break regardless of material. There is also the type of wood to consider. The most "laser-friendly" wood tends to be birch plywood, but you can also use hardwood and other specialty plywoods. The boxes from Tale of Ord are made out of maple plywood, which cut and engraved nicely, but I had also experimented with a cherry plywood at the time, which was completely unusable. The wood itself was beautiful, but it turned out that the core of the plywood was made out of a material that was not so laser-friendly, and the edges of each piece were so covered in soot that it was impossible to touch it without turning your fingers (and consequently much of the wood) black. Anyway, the lesson is, if you're using a new material, experiment with it first before putting all your eggs in one basket. Acrylic is an awesome material to use because the edges come out really clean and you can create interesting effects with surface etching. Etching on a clear or translucent acrylic will create an opaque area; etching on an opaque acrylic will create contrast in color and turn a glossy surface matte; and etching on a mirrored acrylic can create a non-reflective area, and is especially interesting when you do it from the backside. (But remember, etching a lot of surface area will be costly.) Similar to how the wood masking technique works, acrylic typically has a mildly sticky paper layer by default. It protects the surface but also prevents the laser from reflecting on the material. You will most likely need to remove this paper yourself, as most vendors do not do this by default. This is often not a big deal with cut shapes, but if you’re etching something very detailed, especially in volume, it can get annoying to clean up the surface of all the little paper bits. Ordering There are probably hundreds of companies offering laser cutting services, so who do you use? For one thing, I highly recommend getting multiple quotes before proceeding with a project, as prices and cut times can vary drastically. You’ll generally need to upload or email a file to get a quote, so make sure you look at that company’s website first and see if they have any file prep guidelines. From what I have seen, standard pricing for laser cutting services is about $1-2 per minute, but just because someone has a lower per minute price, it doesn’t necessarily mean that it will be cheaper to make your project there. The actual cutting speed can vary based on the vendor’s settings and the machine itself, and there is also quality to consider. Sadly the 2 times I have found a service charging less than $1/min, their communication was terrible and my pieces came out burned to the point of not being presentable. If you’re making something that requires multiples, always make one sample first. Sometimes ordering multiples seems more cost effective, but if your piece doesn’t come out perfect on the first try, you’ve just wasted a bunch of money cutting multiples of the wrong thing. Trust me, I have learned this lesson the hard way! Because of this, and also for the sake of saving on shipping, I would normally recommend trying to find a local service if you can. In the days of social distancing though, that might not help as much... When I was working on Tale of Ord, I spent some time compiling a list of every laser cutting service in the US that I could find and get a quote from. Ultimately I ended up working with Oaklabs in California (despite the distance) because of their quality, communication, and willingness to work with me on a big and complicated order. I have also worked with Fabberz lab in NYC (local to me) on some smaller projects so that I could pick them up quickly and not waste time on shipping. To compare, Oaklabs’ per minute prices are mid-high with no price breaks, whereas Fabberz offers some great packages if you’re going to do a lot of cutting. However, the cutting time at Oaklabs was often much faster, negating the discount I would have otherwise gotten, but adding on the burden of shipping... In any case, I am happy to recommend both of those companies, and would use either one again, depending on the project. There are online services like Ponoko (US-based) or Polulu (for UK and Europe) that make it very easy to order (basically like a print on demand service), though they tend to be pricier and mark up their materials as well. Independent vendors often have their own stock material but will allow (or even prefer) you to provide your own, as long as it meets their requirements. If you are supplying your own material, be sure to confirm with the vendor that they will be able to cut it before you place the order. If I am making a test piece or a small item I will usually opt to pay for stocked material, but if I am making a larger order I will normally supply my own because ordering wood or acrylic directly from a supplier is usually more cost effective than buying it from the vendor. On a closing note, if you're not too cost-sensitive then you might consider using the negative space left from your cuts to do some experimenting. As I was working on some pieces for The Emerald Flame I had a little extra space on my turquoise acrylic board, and voila! Adorable jellyfish earrings. :) That’s all for now! In the next post I will talk about joinery, curved surfaces, hinges, and other fun laser cutting experiments. What’s your experience with laser cutting? Do you have any advice or insight into the process?

For those safely at home, I imagine you want to keep your mind occupied as we get through these uncertain times. Since it seems best to avoid ordering things at the moment (we gotta think of those postal workers and delivery men too!) I thought it would be good to compile a list of puzzle resources and games that can be played online/at home. I am also aiming to post a new puzzle online once a week for the foreseeable future, so keep an eye out on the PostCurious Instagram, Facebook, or Twitter. The first one is at the bottom of this post! Free puzzles to play online PostCurious free puzzle archive - includes free puzzles old and new, with hints and solutions. Enigma Emporium's Wish You Were Here full game (Pictured: Wish You Were Here cover via Enigma Emporium) Key Enigma is a current box game on Kickstarter with a free online demo (UPDATE: Kickstarter campaign has ended but demo appears to still work.) Cryptex Hunt 2020 - challenging puzzle hunt in the form of a novel Puzzled Pint archives - puzzle hunt style puzzles, more approachable than the MIT ones below MIT Mystery Hunt puzzle archive 1994 - 2019 DASH Puzzle Hunt archive The Riddles of Dr. Xor - this page hasn't seen updates in a long while but is basically a puzzle archive in itself UPDATE, APRIL 9, more free puzzles: Alone Together is a cooperative online puzzle by Enchambered for 2 people to play from different locations. <45 minutes. Palace Games has created online puzzles with 10 rooms so far, with more to be added. ~45-60 mins for the first 10. This one requires some googling. Escape the Room Herndon has an online Harry Potter themed mini escape room. Great one to play with kids. ~30-40 minutes. Scavenge in the Attic is a free print-and-play game for kids made by Clever Kids Mysteries Be the Escape has created 2 virtual mini escape games with 2 more on the way. ~15-25 minutes Escape From Home has 3 virtual escape rooms that can be played for free. Secret City Trails has a play-at-home version of an outdoor puzzle hunt in Europe. Armchair Escapist has a free puzzle series on their blog. The first season of Cryptogram Puzzle Post is available online. Mystery City Games has some fun historically themed puzzles on Instagram. Other online puzzles PuzzleCraft by Mike Selinker & Thomas Snyder is a book about creating all kinds of puzzles, and has puzzles you can try to solve as well. You can download the PDF for $5 and either print it out or read/play on your chosen device. YouEscape offers online escape rooms via video chat. These can be played remotely from several locations at once, and cost $30 for a session. (Pictured: YouEscape's Magnum Opus, via Room Escape Artist) Subtext is a cool puzzle game that is played via text messages. You can play a free demo and the full version is $6.99. you may need a U.S. phone number to play this. Nadia Arbach makes print-and-play escape rooms for kids based on primary school learning, meant for parents and schools. Price varies. Trapped makes really fun audio escape rooms that use the medium very well. $15 per person with a min. of 3. A Death in the Red Light is an online puzzle by Mystery City. Other online things Girls Game Shelf compiled a list of websites for playing board games on the web (free and paid). Find and read about ARGs on ARGnet Check our No Proscenium's list of online interactive experiences. My puzzle video game recommendation lists (another one coming soon) Narrative-driven puzzle games Puzzle Platform games Puzzle-driven games UPDATE: A new post with more puzzly video game recommendations. (Pictured: Return of the Obra Dinn, see narrative-driven games list above) Some Relevant Favorite Podcasts Escape This Podcast - play-along audio escape rooms. They also have materials for their games available online if you want to GM a session for your friends and family. You can even do it remotely via phone or video chat. Tanis - a narrative podcast about a supernatural mystery Serial (season 1) - an engaging story about a true crime investigation The Adventure Zone - an adventure "actual play" podcast based loosely on D&D and other RGPs (I haven't listened to this one personally but have heard great things!) Board Game Design Lab - insightful interviews with people in the board game industry The Cardboard Herald - board game focused interviews and reviews (also has a YouTube channel) What are you doing to stay occupied? Do you have any other puzzle or game resources to recommend? Here's my first online puzzle, based on a bizarre medieval graphic that seemed perfect for these strange times.

How do you find your puzzle inspiration? (Yes, I’m asking. Tell me in the comments!) I find that a lot of my inspiration for puzzles is visual. I like to use shapes, layouts, and colors, and get a lot of my ideas from things I see while traveling and from looking at historical source material. Some of the things that excite me about The Emerald Flame Kickstarter are the additional puzzle rewards, as well as the online puzzles I've been posting throughout the campaign. These are in-world puzzles and can be thought of as a prequel of sorts, although they don't follow the same main characters. Why? The game itself is about solving the secrets of the alchemist, and the pre-game is about finding those objects in the first place. Some of them are seeds of puzzles that had potential but didn’t develop their way into the game, or did go into the game but behave differently. For example, one puzzle in the game shows shields on houses, and these really exist, so I wanted to connect them to the real world not just in my eyes but for others. However, The Emerald Flame developed in such a way that players don’t need to use internet research outside of given links, so using this idea in a different setting and format seemed like an okay opportunity for a totally different puzzle, inspired by the same motif. These shields ended up in one game puzzle but are woven into 3 out of the 5 online campaign puzzles. Before I travel I spend a lot of time looking at maps. I plan itineraries, transportation routes, try to find hidden gems, etc. and I do the same thing when I’m planning out a game in a certain setting. The Emerald Flame features 3 maps, one of which is a map of Prague Castle. As I was looking around the castle area in Google maps I found a bunch of geometric fountains and gardens, and that visual grew into a puzzle in the game that takes place on the castle map. A tale of 3 blurry pictures and 4 weekly puzzles: If you’ve been following my weekly puzzles, some of the images below will look familiar, and I thought the tale of their origin was kind of neat. I found an image from a (medieval?) manuscript which excited me as a source of inspiration, but what I didn't see at first, is that this image also had three very blurry items on the bottom. The poor resolution made it impossible to understand what information they were trying to convey, but I set out to use these abstracted images as a jumping off point. In the first one I noticed what looked like letters to the left and right of the tower. It also seemed kind of like the tower could be divided into layers. With that, the puzzle on the bottom left was born. The image in the center made me want to take two triangles and combine their contents to make something new in another triangle in between. At first, I came up with the pentagonal word puzzle on the top, dropping the octagon shape and using the triangles to make compound words. Still, I really liked the layout of the octagon’s inner shapes, and ended up creating a shape/color overlap puzzle as seen on the bottom. In the column on the right I once again noticed what looks like letters or symbols (though they could just as well be leaves) and the criss-crossing vines going around the column. The criss-crossing pattern led me to make the puzzle on the bottom right (and I guess it got a little bit trippy there!) If you want to try solving any of the puzzles above, head over to the PostCurious archive for full size pictures and hints. Since we hit 1000 Kickstarter followers before launch, I’ll leave you off here with another puzzle, as promised: -Find a URL hidden in this post, slash a very relevant color, dot html. -Seek mysteries. -Read numbers: 3-1-1, 3-3-5 4-4-2, 4-4-4, 4-5-2, 4-7-7 5-1-2, 5-1-3, 5-3-4, 5-3-5, 5-5-1, 5-5-2 -The keys hold the final word, teeth show the way for the bow. One last hint: The answer is a present tense verb with 5 letters.

Have you ever wanted to put something together but didn’t know what glue to use? Or glued something together only to have it fall apart shortly after? Adhesives are not one-size-fits-all, and when you’re crafting (or repairing) something it really helps to know the appropriate glue to use for your materials. Glue is one of my favorite crafting topics (no, really!) so in this post I will go over a variety of adhesives, their uses, and some tips. Glue sticks Use on: paper goods. Don’t bother trying to glue anything else with it. Dry time: a few minutes Tips: It’s good for large surfaces of paper because it doesn’t warp the fibers. It doesn’t create the strongest connection, so make sure to apply glue around the very edges and in the center of the page, and apply pressure once you set it down. Sometimes it helps to put a book on top. Spray adhesive Use on: paper, cardboard, foam core, glitter, gold leaf. Dry time: very fast Tips: It’s REALLY sticky. Make sure you protect the surface you are spraying the item on. I usually put down some cardboard or newspaper. Apply the item you're gluing very carefully as it will be difficult to reposition once it’s down. Use in a well-ventilated area. You can use this with a stencil to create shapes with gold leaf or glitter. Craft glue (such as Elmer’s. I prefer the clear/gel version of Elmer’s.) Use on: paper, cardboard, foam core (surface), glitter, (can also be used for wood, but is inferior to wood glue.) Dry time: at least an hour, depends how thick your layer is Tips: This type of glue gets absorbed into the paper fibers, so big globs of it can cause warping. Remember to give it ample time to dry, or else it just makes a mess. If you need to use it over a large area, spread a thin layer with a brush or a roller to avoid warping. Wood glue Use on: Wood (can also be used on paper in place of craft glue, but it does not dry clear.) Dry time: a few hours (varies) Tips: Wood glue works because it gets absorbed into wood fibers and creates a connection between two pieces, but in order for this to happen, the surfaces need to be relatively flush. If try to glue surfaces that leave gaps in between, the bond will not be nearly as strong. If you can use a clamp, definitely do so (but be sure to protect your surface.) There are different types of wood glue with different drying times (see chart below). #2 will work in most cases, but if you need to be able to make adjustments and want a longer setting time, go with #3. Titebond is definitely my go-to brand. If extra glue squeezes out of the cracks, wipe it off immediately with a moist cloth or paper towel. It will be harder to get it off when it's dry, though you can always sand it down. Hot glue Use on: Most things (see below) Dry time: very fast Tips: It can adhere to almost anything, but you should not rely on it for any joinery that will experience heavy use. It’s more of a way to fix things together (like an ornament or a scrapbook) than a serious glue joint. It does not adhere very well to smooth wood, glass, silicone, or plastic. It will hold them in place, but they will likely be easy to peel off. It may also melt some plastics. For paper-based goods though, have at it! It's also good with fabric and for odd items. Anything with an irregular texture will probably do ok. Get a glue gun with a thin metal nozzle and temperature control. This kind of nozzle is not only more precise, but it seems to stay cleaner and make it easier to get rid of the glue “strings.” Don’t get a mini size glue gun as they overheat quickly and become hard to hold. Side note: You can use special glue gun sticks to make wax seals, which is cool. CA glue (AKA super glue) Use on: Most things, but generally non-porous surfaces. Dry time: very fast Tips: Be very careful with this stuff as it dries super fast and can get stuck to your skin REALLY easily. If you’re doing a project that requires using a lot of CA glue, grab yourself a bottle of solvent too. This is not a gap-filling glue and will not work very well unless your surfaces are flush. It is best for smooth hard surfaces but it can glue things like wood as well, and I’ve used it many times for laser cut wood structures. If there is not a lot of surface area, the connection may be brittle and break under pressure. My favorite brand is zap-a-gap. It comes in larger bottles than the typical “super glue” tube, which is meant for small fixes, but zap-a-gap is by far the best CA glue I’ve tried. You can also buy small nozzle caps for more detailed application. It works well for acrylic because the glue is clear and usually very thin (but you can also buy specific glue for acrylics and plastics if your project calls for it). Use in a well-ventilated area. Epoxy Use on: Pretty much everything except paper goods. This is the “if all else fails” glue. Dry time: varies Epoxy will glue almost anything. It is a gap-filling glue, which means if your surfaces are not perfectly flush, it will be able to fill some space between them to create the bond without being absorbed. It often comes in a double syringe out of which you push out both parts of the glue and mix them together. Until the parts are mixed together they will remain liquid. My preferred brand of epoxy is Loctite. The stuff is pretty toxic, so I don’t recommend using it unless you really need to. If you do, don’t mix too much at a time (because of fumes but also it dries relatively fast) and do so in a well ventilated area. 5 or 10 minute epoxy will glue most things. It has a fast dry time but it won’t create as strong a connection as a longer drying epoxy such as the 60 minute formula. There are also epoxy formulas made specifically for metals, ceramics, glass, etc. If you’re going to be working extensively with one difficult material in particular, I would recommend getting a specialized epoxy for that material, but the regular one will do for most projects. Do you have any adhesive-related advice? Any questions or sticky conundrums?

As with any design project, things get cut. From early brainstorm to final game, maybe about two thirds of the original puzzle ideas make it in. In most cases, they were just not quite right to have inside the game, either because they deviated too far from the way the rest of the game worked, or got in the way of a smoother gameflow. Some of them just didn’t want to be what I wanted them to be… so I decided to allow them to be something else. That came about from playtesting and seeing how users interact with my design. I wrote about having in-person playtests in an earlier post and was happy to be able to do a fair amount for The Emerald Flame. As I was sitting in on playtests I would hear people speculate about what to do, saying things like, “Does it want us to cut it?” or “Is it asking me to find X?” I realized they were personifying the puzzle they were working on, and, as I realized I do this a lot myself, I began to think about why. The puzzle is an entity you’re interacting with. It may not be a conscious entity, but it is a task that was designed to be solved. A human being put it together in order to try and communicate something. Sometimes when you see a puzzle, it feels like it is asking you to solve it, in the same way that a slice of cake is inviting you to eat it. But how do we draw people in and make things look appealing to interact with? What makes that spark inside us light up when we gravitate towards something? What even makes something look like a puzzle, or look like it can be manipulated in some way? From watching other people play games and trying to figure out what draws me in as a player, I’ve observed the following as being effective beckoners: Display points of potential interaction. (We like to do things that affect other things. It’s always fun to push buttons, toggle switches, etc.) Imply assembly or disassembly. (You’re taking one thing and making it into another. Transformation is pleasing.) Make it pretty. (If you’re going to be looking at it for a while, it might as well look nice.) Create mystery. (What are these weird symbols? Where could this path lead? Is there something hiding in there?) Repeated imagery. (Seeing repeated elements across different areas might begin to make you wonder how they all connect.) In the end, curiosity is everything, and sparking it is what invites players to interact. Don’t kill the curiosity. Sometimes difficulty can kill curiosity, and a huge part of that is signposting. The less signposting, the more “difficult” a puzzle becomes, but signposting also ties in to the idea of player engagement. When you look at an item, something has to grab you right off the bat, but it also needs to have some breadcrumbs for you to follow. If you’re aiming for a smooth player experience, you want to give puzzles some sort of entry point, or an onramp. This might mean a simple clue, an explanation of certain rules, an example showing what needs to be done, or even just some kind of recognizable symbol. (For example, a scissor icon? I probably need to cut this.) If there are no strings to grab onto, the less determined player might be left frustrated and abandon the puzzle. It is so sad to watch people walk away from a puzzle. In the puzzle below your goal is to extract some letters, and some are already given as an example. If there were fewer example letters, or none, the puzzle would still be solvable, but a whole lot more people might walk away from it saying "I don't know what to do." With these examples you can begin to discern a pattern and connection between the items and letters. How do you decide how much to give away though? That depends on your purpose. Who will be solving the puzzle and why? How challenging do they expect (or want) it to be? Since this puzzle was created for a casual online audience, it became clear that it would benefit from a couple extra clues, which might not have been the case if it was made as part of a puzzle hunt for enthusiasts, for instance. Am I doing this right? Solving a puzzle feels like a victory, and you want to know it when it happens, because ambiguity is kind of a buzzkill when you think you won something. So what are ways to reduce ambiguity about a process or solution of a puzzle? Tell the player what they’re looking for. Is it a place, a number, a name? Having a goal helps you find your way to it. Have a self-confirming answer such as a word or phrase. Numbers can get tricky because there’s often no way to know if it’s right without checking. Try to avoid gibberish answers (like CGFNBKSHJF) unless it’s clear they still need to be deciphered, though I think double decoding is also to be avoided. If it’s a multi-layered puzzle, it helps to have self-confirming steps as well. It’s like positive reinforcement to continue. Avoid long dependency chains, especially with numbers. If there are too many variables it becomes hard to know where you made a mistake. Avoid red herrings and leave smaller margins for error. If too many people are going down the wrong path, you might need to close that gate. When the intention is being communicated clearly, players will have less moments of questioning and more reassuring moments of “this looks right!” Then, when you finally solve something, it is like your mind and the mind of the designer have aligned, creating a feeling of harmony and satisfaction; of understanding and sharing an idea, even if just in the abstract. Freedom to interact. I wrote a previous post about linear vs non-linear gameplay and playtesting The Emerald Flame only reinforced my tendency toward the non-linear. Within a chapter nearly all the puzzles can be solved simultaneously, and it was interesting to watch people pick up the components and choose what puzzles to work on first. The fact that everyone was making different choices was a positive sign - it indicated that the variety and the open format were working. However, there was one exception. There was a puzzle (puzzle B) in the third chapter that couldn’t be solved until another puzzle was completed (puzzle A), and it was surprising how much it ended up stalling the game. During one test, the players hit a bottleneck. One was working on puzzle A, and the other got stuck on puzzle C and said, “I wish there was another puzzle to do.” They had already solved everything except for puzzle B and C, and I thought, “Why should puzzle B be sitting there while this player has nothing to do?” I want people to stay occupied and engaged. On top of that, this test was only a group of 2, so what would have happened with 4? Or if the game was entirely linear? I think the level of frustration would have gone up exponentially and many more thumbs would have been twiddling. In the end, puzzle A was entirely too difficult and didn’t fit within the rest of the gameplay, so it changed completely. I also removed the dependency between puzzle A and B so that B could be solved separately, keeping consistent with the non-linearity of the rest of the game. Doing both of those things required some late changes and compromises, but dramatically improved the interactions and player feedback in the final chapter of the game. Just goes to show that sometimes it’s up to the players to show the designer what a puzzle does (or doesn’t) want to be. What are your thoughts on improving user interaction?

In this post I’ll be sharing some of my prototyping process for The Emerald Flame, and will include a bit of an intro to some basic prototyping tools and materials. In the future I plan to write about more specific topics, such as tips for digital prototyping, laser cutting, and using adhesives. Useful materials for prototyping: Chipboard - Reasonable enough to prototype at home with chipboard if you need something sturdier than cardstock, but if you are closer to a finished prototype, you could also get components printed or die-cut out of chipboard at websites like TheGameCrafter.com. That’s how I made these! Foam core - Good for sturdy tiles, boards, or containers. Standard foam core is a little under 1/4” thick, but you may also be able to find 1/8”, which I personally prefer since it is about equally sturdy but less clunky and easier to work with. To avoid the messy edges, make sure your utility knife is sharp, and make several small passes, going deeper each time, rather than trying to cut through the foam in one go. Projector slide sheets - Good for clear plastic components or transparencies, but can also be used as overlays to write on and erase information as you iterate. Legos - This will only work for some things, but if you have a mechanism you need to work out, Lego makes mechanical sets with gears and other fun gadgets you can play around with. Clay - Good for making tokens or unusual shapes. FIMO and Sculpey are easy to use oven bake clays. You could also use an air dry clay like Crayola Model Magic, but it has a kind of springiness that is less conducive to detail work. You can easily paint these with acrylic paint. Here are some beetle pendants made with modeling clay. They took about 20 minute to bake. I made a hole in them before baking (you can use a toothpick and swirl it around a bit) and then drilled it out after painting them so that the chain could fit through. Glue I started writing about glue in this post, but then it took up wayyy too much space and I realized adhesives deserve their own spotlight. I'll be writing about them soon. My favorite tools Olfa utility knife - My favorite model of this knife allows you to hide extra blades inside the plastic casing, and the bottom comes off to help you safely break the most recently used blade segment off the knife. Unfortunately, it doesn't appear to be readily available anymore, but I still like the ratchet mechanism these knives have, and the quality blades that snap pieces off so you don't have to replace the entire thing every time. Rubber cutting mat - This is a must so you don’t destroy every table surface. I suggest going a little bigger than what you think you need, since it can easily be stashed away. Paper cutter - I prefer cutters with the sliding blades as they are more precise than their guillotine-like cousins, however if you have a lot of volume and care less about precision, the latter may be better suited for your needs. I can't say this model is the best on the market as it's the only one I've used, but it works pretty well. Pilot FriXion erasable pens - These changed my life. No joke. They don’t smudge like a pencil but they erase well off most surfaces and don't leave crumbs everywhere! I now take notes almost exclusively with these. My only complaint is that they seem to run out of kind of fast, but I just found out that they sell refills! They also make them in other colors, as well as markers and highlighters. Lightbox - As I mentioned in my post about digitizing and drawing analogue artwork, a lightbox can be really useful if you just want to trace over something quickly. I currently use this model, which is very light, slim and super affordable, but I do wish it could charge and work cordlessly. Here is a pile of paper pieces I drew, scanned, cut, redrew, rescanned, recut… a few times... and then drew a final copy with an ink pen using a lightbox for accuracy. Iteration I’ve written before about ciphers, and how I prefer to make up my own symbols. I try to make these specific to the puzzle, so the shapes are usually inspired by the theme. Here’s an inside peek at some symbol brainstorming for an ancient language found in The Emerald Flame. Iteration can be especially hard when working with 3D objects. In the instance below I came up with a complicated shape, which would have been difficult to cut by hand, so instead I used a vinyl cutter (Cricut Maker, specifically) to cut it out of cardstock, only to quickly realize that this piece wouldn’t work unless it was transparent, because too much of the graphic underneath would be obscured. For the next attempt I got a piece of acrylic laser cut, but the clear acrylic made it surprisingly difficult to see where the shapes were landing, especially with such a light background. I ended testing a few different colors with varying degrees of opacity, and finally landed on a green-tinted acrylic with an approximate 75% transparency. I created a darker background to contrast the shiny acrylic, which made the top layer feel more solid while maintaining the visibility of the star chart underneath. That's all for now! Do you have any questions about prototyping? What are your favorite prototyping tools and techniques?

Last year I wrote 3 posts with digital puzzle game recommendations: Narrative-driven puzzle games Puzzle Platformer games Puzzle-centric games Since then I've played several other noteworthy games and thought they warranted a new post, especially with so many folks being stuck indoors these days. You may notice I left out the word "puzzle" in the title of this post, and that is because the first item on the list is Slay the Spire. Slay the Spire Available on: Nintendo Switch, PlayStation 4, Windows, Xbox One, Mac, Linux What is it? This is not a puzzle game, but if you like puzzles you may enjoy it. Though I warn you now: it is addicting as heck. Slay the Spire is a strategic deck-builder with turn-based combat where you battle monsters by creating synergies using different cards. If that doesn’t sound super unique or exciting, allow me to admit that I’ve sunk in dozens and dozens of hours into this game - it’s great. Why play? There are 4 characters to play with, each with different abilities and different sets of available cards. You can put together many different synergies with each character’s cards, so while the monsters don’t have a ton of variety, there are many strategies to victory, which keeps the game interesting. When you first start out, there are lots of items to unlock, and if you’ve beaten the final boss you can always give yourself an extra challenge by starting to ascend to higher levels. There are daily challenges and custom setups you can put together, plus some ridiculous trophies to win (like having 99 strength, etc.) There is a lot of replay value, which is good since a full run through (for me) takes an average of about 2 hours. The Vanishing of Ethan Carter Available on: PlayStation 4, Nintendo Switch, Xbox One, Windows What is it? The Vanishing of Ethan Carter is a narrative-driven puzzle game in which the player investigates a series of events that led to the disappearance of a boy. The focus of the game is on exploration and discovery, and puzzles mostly involve reconstructing sequences of events from the past. The world is a bit large for the amount of content, and walking across long stretches of nothing became a bit tedious at times, but there are enough cues and guidance to keep it from being frustrating. Why play? Puzzles that allow you to discover the narrative by reconstructing the past. An engaging story about a family, murder, and a dark underbelly of events. Nicely rendered graphics and thematic atmosphere. Baba is You Available on: Nintendo Switch, Mac, Linux, Windows What is it? Don’t let the minimal/old school aesthetic fool you -- the gameplay here is innovative and really pushes the boundaries of what it means to be a game. It actually reminds me of one of my favorite childhood games, Chip’s Challenge, in which the player has to solve spatial puzzles to maneuver between rooms, collect keys, etc., but what makes Baba is You unique is that in order to beat the game, the player needs to change the rules. By pushing around different kinds of blocks, the player can create combinations of instructions that manipulate items in the game space. What does this mean? For example, a rule may read ROCK is STOP, which means your character cannot go through rock walls. But if you change the blocks to say ROCK is PUSH, suddenly you can push through rocks and get to where you need to go! It sounds simple when I explain it that way, but the setup of the levels makes it anything but. Why play? Thoughtful and challenging puzzles. The concept of this game is brilliant. The above two are good enough reasons, just try it out. Glass Masquerade Available on: Nintendo Switch, PlayStation 4, Xbox One, Windows, Mac What is it? Glass Masquerade is basically a digital jigsaw puzzle with a small twist - the pieces are irregularly shaped, and the design on them is hidden until you pick one up. Each puzzle is a stained glass panel inspired by a different country. There’s not a ton to say as it is rather straightforward, but if you want something simple and zen, it’s a great choice. Why play? Pretty graphics and relaxing atmosphere. It’s really satisfying to see the puzzles come together. It’s great for when you don’t want to dive into something intense, because you can complete one panel in a short sitting (5-10 minutes). Disco Elysium Available on: PlayStation 4, Nintendo Switch, Xbox One, Windows What is it? Disco Elysium is a beast different from any other game I’ve played. I write this with the disclaimer that I haven’t gotten that far in the game, but that doesn’t mean I can’t appreciate the unprecedented sophistication of gameplay in this role-playing mystery. Taking the role of a detective investigating a murder, players have enormous freedom in this game to explore, interrogate people, pursue side-quests, build up your character and actually affect the course of the narrative. I imagine it’s possible to sink hundreds of hours into this game. The one downside for me was that I felt I spent a little too much time reading dialogue, but that may just be par for the course with RPG games of this nature. Why play? Insanely expansive world with a ton of freedom to explore different quests. Lots of characters and dialogue, with meaningful player interactions in the narrative. Telling Lies Available on: Windows, Mac, iOS What is it? Made by the creators of Her Story, this is a similarly narrative-driven game. The goal is to strategically use different search terms in a video archive to find clips of webcam footage and piece together a story. Keep in mind this game is basically watching videos, so it may not be for everyone, but it’s an interesting way to expand what a game is. There are also no “puzzles” per se, but at the end of the game there is a series of questions to answer, which you may or may not be able to succeed at depending on how much important information you discovered from your searches. Caveat: If you haven’t played this but it interests you, I would suggest playing Her Story first. Why play? An interesting and engaging story. Unique gameplay mechanic that simulates a more detective-like approach than many puzzle games. Have you played any puzzle video games you would recommend?

I’ve written a couple posts about making puzzles before, but just as I try to learn new things and improve my work, there’s always more to say and think about. Thanks to Jonathan at GameWeaver for bringing up some great questions about puzzle mechanics: How do you determine the mechanisms you're going to use for a player to decipher a puzzle and how do you choose what might throw them off? Does a system emerge or do you pick before you start? When designing a puzzle, a good question to ask is “what does this puzzle want to be?” When you design anything, you might have an idea of what you want to make, but it takes conscious editing and analysis to make sure you don’t force together a mechanic with an element that it doesn’t harmonize with. The aesthetic of the Emerald Flame in particular was heavily influenced by a variety of alchemical manuscripts, and I was interested in creating puzzle mechanics that were reflective of the curiosity inspired in me by the source materials. Not being able to read any of these manuscripts allowed me to imagine what they could possibly mean in the context of my story, and go from there. As a result, there were a few puzzles in the Emerald Flame that were derived from narrative elements, a few originated with specific mechanics in mind, and many that were designed with the visuals coming first. Let’s break down those three options with a few examples of the different thought processes. Story first: The characters need to find an entrance to an underground passage. Where could it be hidden? Maybe it could be hidden in the castle, since that’s where some of the story takes place. Perhaps there could be a message hidden within a map of the castle. What elements within a map could I use to put together a hidden message? A map would probably have some locations labeled - a good way to gather letters for a message. Maybe there are shapes hiding in the architecture as well, or a legend that gives some kind of clue? How could I combine the visual elements available to me with an interesting mechanic that would reveal an answer? Mechanic first: Ex. 1: I have a puzzle mechanic that involves making a path using different colored objects. Is there something in the story that would allow for this kind of visual, and how can it be intertwined with this mechanic? Ex. 2: I’ve thought of an idea for an interesting cipher. Is there an element in the game that it would jive well with? Is there a puzzle that could use more than one step and would benefit from this being added? If yes, what’s the best way to integrate it? Visual first: I find inspiration within an alchemical diagram that looks like it has some puzzle potential. (Puzzle potential? Perhaps some symbols, numbers, shapes, something that maintains a certain order… or something that looks totally out of the ordinary!) For example, imagine a diagram that has to do with the four elements. Mechanically speaking, what could one do with elements? Perhaps combine them? Alter them to create something new? How would the player’s performance of these actions fit into the narrative? How can the concept of combining elements be twisted into something new and refreshing? As for choosing what might throw people off, more often than not it’s just a matter of not adding too much clutter. This instinct also grows with experience. The more you test puzzles with different groups of people, the better you will understand what sort of things can be distracting. However, the basic rule of thumb is this: anything that looks conspicuously placed or particularly intentional will lead people to believe that they need to pay attention to it. Seems simple enough, right? So if you’re going to include elements that don’t have any meaning in and of themselves, I suggest they not be full of Roman numerals or other motifs that scream “this has to mean something!” If something looks important, people will think it is, and getting hung up on red herrings just really isn’t fun. Of course, if just one player gets distracted by something it may not be a big deal, but if it’s every other person then just eliminate the darn thing and spare everyone else the frustration. That said, something totally benign-looking revealing itself to be a puzzle can have the opposite effect and make for a great surprise... as long as there is a clue guiding one to pay attention to it. :) What’s your process for designing puzzles?

I love making puzzles, but they mean a lot less without other people. The best part of creating an experience for others is their experience. Watching someone enjoy a game and feel triumphant for solving something is immensely satisfying. It creates a two way dialogue between the creator and the player, and I want to have that dialogue with more people. While designing Tale of Ord I considered potential accessibility issues and tried to adapt the puzzles and hint system so that it would be possible to move forward in the game even if you could not complete a task. With The Emerald Flame I started thinking about this earlier on and designed the game with intention to make it accessible for a broader audience in several different ways, illustrated below. **Please note this post contains some minor spoilers about The Tale of Ord and The Emerald Flame.** Disabilities The Tale of Ord had two puzzles that involved audio clues. One of them included a transcript, but it wasn’t possible to add that to the other one, so the transcript was in the hints page. I steered away from using audio clues in The Emerald Flame so that everyone would have the same experience. It is common to see puzzles that involve color. Board games and video games designers often suggest using a symbol along with a color to help colorblind people identify colored elements using the shape. But what about when that doesn’t work for a puzzle mechanically? How do you even know what it will look like to a colorblind person? I found a phone app and a desktop app that are meant to simulate different types of color-blindness and used them to look at my color-dependent puzzles as I put them together. (I encourage other designers to use these as well!) How did that help resolve my color puzzles? For one, The Emerald Flame has a puzzle involving crystals, which originally just had names written underneath. Since there were 8 colors, it did indeed become difficult to distinguish some of the colors while looking at them through the app. That was solved simply by writing the colors along with the crystal names. Another puzzle could not have been revised that way, but needing only 5 colors, I chose my shades very deliberately so they would contrast with one another. Dark blue and purple looked too similar, so I switched to light blue instead. When red and green looked too close I switched to orange, etc. I hope this will make it easier for colorblind players to solve the puzzle without resorting to hints. Computer Literacy People have different degrees of computer literacy, and I would hate for those who have less experience with certain interfaces to feel left behind. For example, one puzzle in the Tale of Ord required awareness of HTML, but not everyone knew how to access it or that it was necessary to do so. The Emerald Flame is much tamer in its use of technology. There are a couple links to follow and a place to submit answers, both very easy to use and require no special knowledge (besides opening a browser). There is also no outside research; I wanted to keep most of the game on the table. International Players The Tale of Ord had one puzzle that involved a phone call to a U.S. number. This created a hindrance for some players outside the U.S., and so the new game does not include any location-specific puzzles. The Tale of Ord also had some language-dependent puzzles that were most likely a little harder for non-native English-speakers. Of course one would need to have some knowledge of English to play The Emerald Flame, but it uses more visual cues, and even if clues are written in English, there is little to be lost in translation. Difficulty and Length The Emerald Flame is shorter than the Tale of Ord and has a lower level of difficulty. That is not to say it is easy, but I believe it is much more streamlined and approachable for people that are new to puzzles. I always love introducing puzzles to curious non-players, and I hope this game can be closer to a gateway into the genre than Tale of Ord was. Affordability The Tale of Ord was a special handmade game with a limited run and components sourced from North America. That made it not only very time consuming but especially costly to produce, and I was not so comfortable with the high price point it required as it created a barrier for those with less disposable income. I came to decide that the number and complexity of the components in my next project may need to be toned down in order to produce it for a more affordable cost. How do you make your games more accessible? What can I do to make my games more accessible?

This is the third in a series of blog posts about the making of the new PostCurious game, The Emerald Flame. There is quite a bit of hand-drawn art in this game, and the process for creating it involves a lot of back and forth between digital and traditional media. This is a look inside that process. To start off with an example, writing a letter for the game might look something like this: Write a letter by hand in a notebook (a quick sketch of the idea, a proof of concept) Type up the letter (make it easy to iterate) Print it out for playtests and continue making edits digitally (easy to reproduce while continuing to iterate) After a good number of tests, write out the semi-final letter by hand (make it look more realistic… and pretty) Scan the handwritten letter and edit digitally (Once again making it easy to reproduce and clean up before printing.) I usually try to get something to look as close as it can to what the final product would be without putting in a ton of time, but for a game with heavy visual components, that can be difficult. For this plant puzzle for example, I needed to draw artwork very early on because the whole premise depended on it, but I colored it in Photoshop for expediency, so if I ended up making changes I wouldn’t have lost too much time. For another puzzle I needed a certain degree of accuracy right off the bat, so after an initial sketch I laid it out digitally, then made a pencil sketch based on the digital drawing to make sure it looked consistent. The digitally pained sketch was used for about half of the playtesting, and when it was clear the puzzle was ready I was able to begin the final art for the later tests, knowing it would be important to vet the finalized drawings. Otherwise, a change that might seem insignificant to me might totally throw someone off. There are also certain puzzles that require a level of precision that would be difficult to reach drawing by hand, so I start those digitally. I try to be meticulous about measuring and laying things out perfectly, because I always get frustrated encountering “Does this fit or not?” scenarios. Instead, I want to evoke: “Look, it fits!” Basically, there should not be much room for ambiguity. When creating the final art for this piece, I was careful to follow the existing lines — the inking might look looser, but it remains precise. As I continued to test the puzzle, this piece saw a fair amount of digital editing as well. Here's a look at a map of Prague Castle, from source material to final product. For any novices interested, here are a couple tips for doing this kind of thing: Make sure you’re always designing at 100% scale and in at LEAST 300dpi. If you’re doing something scale dependent, there may be a cycle of scanning, printing, rescaling, reprinting, etc. It’s better to do this and get it right. Make sure your final product fits correctly. Always make sure you’re printing at 100% scale - something can get really thrown off with the “fit to page” box checked. Remember to be in CMYK mode and leave ⅛” bleed if your graphic goes all the way to the edge. Scanning white paper and slightly upping the contrast can allow you to erase the white background and combine images more easily. If you don’t have a scanner, try downloading a scanning app on your phone. It may work better than taking a photo. The “multiply” layer filter in Photoshop changed my life. If you find yourself needing to trace things, get a simple lightbox. I cannot overemphasize how useful it's been. How do you do your artwork? Any tips to share?

Having just played my 200th escape room, I decided it was time to compile a Top X list, and it just so happens that this event coincided with the nominations and voting for the Top Escape Rooms Project, which I was excited to participate in this year! Believe me when I say it wasn’t easy to narrow it down. This list is based on a combined score of production design, narrative and puzzle design, uniqueness, and, last but not least, how much fun we had. Aside from the top few, the order should not be taken with too much weight - all of these are amazing rooms that I am super thankful to have had the chance to play, and it’s a big toss up between most of them. I have also included the year in which I played each game, for two reasons: 1. Games change, so an experience from two years ago may not necessarily be the same as it is now. 2. The standards and market have changed so much over time (particularly in production design) that in some ways it’s hard to compare an old game to a newer one. Since this is a list of personal favorites, my scores are generally based on how I felt when I played the game. And so, here are my favorite 25 rooms thus far, with some (very brief) thoughts. The Dome - Escape Room Nederland, Bunschoten, The Netherlands (2019) - This room left me speechless. I don’t want to spoil a single thing about it, other than it’s so good that I want to go experience it again. The Lost Treasure of Alexander Humboldt - The Room, Berlin, Germany (2018) - Exemplary gameplay, set design, and storytelling. This room was the catalyst for my planning a trip to Berlin, and it was worth it. (This company has a new room now - when do I get to go back??) Inventor’s Attic - Escape My Room, New Orleans, LA, USA (2019) - This room (like everything at Escape My Room, from the entrance to the photo area), was put together with so much care and love, and it shows. It also had one particularly brilliant use of an object that I’d never seen before, and we were all delighted by it. The Man From Beyond - Strange Bird Immersive, Houston, TX, USA (2019) - This game/performance/experience is a work of art. It’s clear the team behind it has a background in theater, because the storytelling was as affecting as it was effective, and the entire production was as magical as it was meant to be. The Storykeeper - Locurio, Seattle, WA, USA (2019) - From set to puzzles to performance, this really felt like stepping into a beautiful and whimsical adventure. My biggest problem with this game is that it was over too quickly - all I wanted to do was continue exploring this world. Amsterdam Catacombs - Logic Locks, Amsterdam, The Netherlands (2019) - This game terrified me… in the best possible way? I’m truly not a horror fan (the number of scary games on this list is a testament to how good they are) but Amsterdam Catacombs really accomplished something special. The Haunted House - The Chamber, Prague, Czech Republic (2018) - The puzzle flow was so smooth, and they nailed the atmosphere and effects; I couldn’t ask for a better haunted house game. Lab Rat - Hatch Escapes, Los Angeles, CA, USA (2018) - This game was clever, funny, and a joy to play through. The Experiment - The Great Escape, Zwolle, The Netherlands (2019) - I think this game has my favorite exit sequence ever. It was as triumphant as it was humorous. The Playground - The Escape Game, Houston, TX,* USA (2019) - You can let your inner child out in this one! I just wish it had a jungle gym. :P The Orphanage - DarkPark, Zoetermeer, The Netherlands (2019) - Here we traversed a very spacious Orphanage in the dark, encountering some creative puzzles while trying not to get too spooked. Galactic Pioneers - Mindmaze, Prague, Czech Republic (2018) - The most solid space-themed game I’ve ever played. They executed perfectly what many rooms fail to do. The End - DarkPark, Zoetermeer, The Netherlands (2019) - The End was a surprising and thrilling experience with an excellent actor (that I am not ashamed to say creeped me out a lot.) The Executioner - House of Tales, Berlin, Germany (2018) - For a game about a killer, it was quite a lot of fun. House of Tales really impressed me. Beast of Berlin - The Room, Berlin, Germany (2018) - My strongest memory is the great flow this game had, but like every game at The Room, it was also beautifully designed and cleverly put together. Circus of the Lost Souls - Immersia, Boisbriand, QC, Canada (2019) - This room had my favorite hint mechanism ever. It was also well-crafted and exactly what you’d want from a creepy circus theme. The Grand Immersia Hotel - Immersia, Boisbriand, QC, Canada (2019) - This game was impressive and fun from start to finish, and the actor really added to the experience. The Night of the Wolf and the Serpent - Codex, Laval, QC, Canada (2019) - I finally got to play a Norse Mythology game, and it didn’t disappoint! Even walking into this room was a wow moment. Gulliver’s Travels - Sherlocked, Rishon LeZion, Israel (2018) - This game delivered the story of Gulliver in a creative, humorous, and cinematic way. Revolution - Liberty Escape (now closed), Philadelphia, PA (2017) - I played this so long ago now, but it was the first room I walked out of thinking, “I have nothing bad to say about this game.” The Eventide Departure - Puzzle Break, Seattle, WA, USA (2019) - It may be a bit surprising this made it on the list, but as two players we really enjoyed this game through and through. Cutthroat Cavern - 13th Gate Escape, Baton Rouge, LA, USA (2019) - The puzzles could use more cluing here, but what can I say? The set. Is just. Phenomenal. Asylum - 13th Gate Escape, Baton Rouge, LA, USA (2019) - The set and atmosphere are amazing, and the puzzles here were probably my favorite out of the rooms at 13th Gate. A Los Angeles Crime Story- Stash House, Los Angeles, CA, USA (2018) - Lots of exciting gameplay that can actually occupy a larger group, unlike most escape rooms. Houdini Room - Palace Games, San Francisco, CA, USA (2017) - This room is so filled with puzzles that our group was busy til the very end of this 80 minute game. I’m really looking forward to trying the other rooms at Palace Games. *The Playground exists at several of The Escape Game locations around the U.S. What’s your favorite room, or favorite place to visit for escape games?

I’ve been working on a new game ever since The Tale of Ord was finished, and I thought it might be time to share some insight into the process. As of now, I’m working toward launching a crowdfunding campaign in the spring of 2020, and will be posting a new designer diary at least every month until then. If I had to pinpoint the spark of inspiration that would lead me to make this game, it would be my discovery of the Voynich Manuscript (one page pictured above). I was reading about undecrypted ciphers when I found it, and immediately dove into exploring this treasure full of plants and stars and other strange drawings. (Thanks Yale Library for making scans of the folios available online.) I read that people were also yet to identify many of the plants depicted in the manuscript, as they seemed to be composites of more than one species — a great puzzle concept if I’d ever heard one. This led to more research about Prague (where the Voynich Manuscript spent much of its existence, at some point being in the possession of King Rudolph II), a city I love, which also happens to have a rich history of the practice of alchemy. Searching for alchemical manuscript imagery led me down a bizarre and incredible rabbit hole. Without translating the text, many of these diagrams read like puzzles unto themselves, and one could spend many hours pondering their meaning. I used this aesthetic and esotericism as a jumping off point for many of the puzzles in this project. After beginning the work on this project, I kept in mind an upcoming trip to Prague, during which I tried to learn about its history, searched for more inspiring material, and took photos to use as references, as well as in the game itself. In my next post I’ll talk about the thoughts behind the art in the game! Where do you find your inspirations?