Game Developer: From Concept to Game

Article Rewrite

Developing the Dystopian Card Game "Neon Hope": A Different Approach to Game Development

What kind of game are you working on right now?

Dominik Schönleben: I'm working on a cooperative storytelling card game called "Neon Hope." It's set in a near-future cyberpunk world, but the apocalypse hasn't fully taken place yet. Players take on the role of individuals trying to prevent the worst from happening.

From journalism to board game development, quite an unusual transition. How did that happen?

Dominik Schönleben: Many board game developers, especially those in the tabletop scene, are self-taught. I started making games with a friend, and we'd always wondered, "What if we made a game differently?" Over the years, we never found the one idea, the game the world truly needed. Four years ago, the idea for Neon Hope came to me. We wanted to create a game centered around storytelling, something less stereotypical and standardized. And so, we began.

I believe that many game designers follow this path. They experiment with existing games, and then they start creating their own.

So, are other games an inspiration?

Dominik Schönleben: Absolutely. And that's crucial in any profession, understanding the history of card games, learning about their mechanisms, understanding the nuances, is like a craft.

What do you mean by mechanisms?

There are specific game mechanisms - for example, how players can use dice. And then there may be similar mechanics in many games, but you might have an idea that makes it different.

It's absurd to think we'd create a completely new game mechanism.

It's absurd to think we'd create a completely new game mechanism. In fact, we mainly take existing elements and recombine them in new ways or build upon them with a fresh idea. So games continue to evolve.

You knew from the start that the game would have a certain theme?

Dominik Schönleben: In my case, yes. That's rather unusual in game development. We made a game based on an idea we wanted to share. In our game, we focused on shaping the game mechanics around the story we wanted to present, the way we wanted to present it, and the emotions we aimed to evoke.

However, many developers start from the mechanics, which is more common. Later, a theme is often added on top.

This is quite different from what I expected. In my mind, there's a theme, and developers create the mechanics around it. Why is it the other way around for Neon Hope?

Dominik Schönleben: That happens too, and it's actually less common in reality. Publishers (usually publishers distribute the game) often have a preference for a certain theme, believing it will sell well at the moment. Currently, nature and animal themes are trendy. Maybe they'll be old news soon, as trends often change.

Then you have a game with established mechanics, ideals, and these mechanics are set within an animal-themed setting.

You've been working on Neon Hope for four years. Does it always take that long?

Dominik Schönleben: It's hard to determine a fixed timeline. A key factor is that many board game developers work part-time as a hobby. Tabletop game development is a rare full-time job, where developers can make a living off their creations. So, when I work on Neon Hope for four years, I also have a full-time job. Only now, as we're nearing completion, I plan to shift to part-time employment and focus more on the game.

In essence, the development process for a game is quite personal and varies greatly. Some games can be made quickly, especially when developers find solutions quickly. On the other hand, it can take a long time for an idea to be refined and developed, ensuring the game truly functions well. Many people expect a brilliant idea will turn into a perfect game in no time, but the reality of game design is often much grimier.

And then it works?

Not necessarily. Then something else might not work. It might require you to start over multiple times. Finally, there will be a game that functions. It's a process of constantly creating something new until a solution emerges. And I believe this process, filled with trial and error, is one of the reasons why some games take longer to develop. From these two factors - working part-time and the iterative nature of game development.

How do you juggle your job with game development?

Dominik Schönleben: For me, it's a hobby. When others go to the beach or do other things they enjoy during the weekend, I work on my game. Now that we're nearing completion, I've taken on a part-time job to allow me to focus more on the game.

What's your favorite game?

Dominik Schönleben: My favorite game is Arkham Horror: The Card Game. It shares similarities with the game I'm creating. I make games in the same genre as Arkham Horror; it's a storytelling game where you experience horror tales.

If you could create your dream game, would it be Arkham Horror?

Dominik Schönleben: No. Exactly for that reason, I create a game in this genre that does things differently. The changes embodied in the game are the game I'd like to create.

What advice do you have for newcomers to game development?

Dominik Schönleben: I can only offer one piece of advice to someone making their own game: Perseverance and resilience. When you're making a game, it's going to be tough. If you don't accept this and keep restarting your game - truly not just fixing problems but starting anew - you'll never create a good game. I believe it's this aspect that people underestimate: How often you'll have to rework your game until it's good.

Louisa Eck

Louisa Eck, born in 2002, wrote an article about a farmer collecting chestnuts for his pigs for the school newspaper at the age of nine. It was clear then she wanted to be a journalist. Louisa studied media science in Cologne. A brief stint in public relations for the Cologne Institute of Economic Research didn't deter her from journalism. In Hamburg, she discovered her talent for baking vegan treats alongside her passion for carnival and has stopped wearing her frog costume since moving back to her hometown. Her initials are "eck."

Louisa Eck https://ourwebsite/author/louisa-eck/ The Cemetery Ohlsdorf - Resting Place or Park?
Louisa Eck https://ourwebsite/author/louisa-eck/ Equal Stage for All: Flinta Onstage
Louisa Eck https://ourwebsite/author/louisa-eck/ The Birds Will Fly
Louisa Eck https://ourwebsite/author/louisa-eck/ A Day at the Elite Sports School

Luna Baumann Dominguez

Luna Baumann Dominguez, born in 1996, loves the German Bunny. That appreciation has served her well in her favorite card game "Hennen." She was born in Mönchengladbach but has moved 13 times. During her internship at WDR in Cologne, she worked in the business department. She began her bachelor's in communications science mainly to join the university radio in Münster. There, she founded the feminist radio show "Equals" and interviewed reggae musicians; even the drummer made her wait for French TV at a Dub Inc concert in Paris. The people in the Ruhr area - big-hearted, direct, and lively - are already missed. Her initials are "lun."

Luna Baumann Dominguez https://ourwebsite/author/luna-baumann-dominguez/ The Cemetery Ohlsdorf - Resting Place or Park?
Luna Baumann Dominguez https://ourwebsite/author/luna-baumann-dominguez/ Equal Stage for All: Flinta Onstage
Luna Baumann Dominguez https//ourwebsite/author/luna-baumann-dominguez The Birds Will Fly
Luna Baumann Dominguez https://ourwebsite/author/luna-baumann-dominguez/ A Day at the Elite Sports School

Enrichment Data:The game development process for a cooperative storytelling card game like Neon Hope(or similar titles) diverges from traditional game development in several notable ways, particularly in design philosophy, player interaction, and the integration of narrative mechanics.

Core differences in game development:

Narrative and cooperative focus
Cooperative gameplay: Unlike traditional competitive games, cooperative storytelling card games center on players working together to achieve common goals, fostering teamwork and shared decision-making [2][5].
Story-driven mechanics: The game is designed around advancing a narrative, with players collectively shaping the story’s outcome through actions, choices, and random events, rather than just competing for points or victory [5].
Player agency: The game often features branching storylines, where player choices directly influence the course and resolution of the story, making each playthrough unique.
Role of mechanics and components
Card design: Cards in storytelling games often represent story events, character actions, or narrative twists, rather than just resources, attacks, or defenses as in traditional card games.
Shared resources: Many cooperative card games use shared resources, collective memory, or group objectives, which requires careful balancing to encourage teamwork without undermining individual agency [2].
Adaptive rules: The rules may be more fluid to accommodate storytelling, allowing for improvisation and player-driven content creation.

Development process:

Prototyping and playtesting: Focus shifts to ensuring that the narrative is engaging and that cooperative mechanics work smoothly. Playtesting often involves observing how players interact with each other and the story, rather than just testing for balance or competitive fairness [3].
Theme integration: The theme (such as Neon Hope or a shared concert stage as in hololive’s card game) is often tightly integrated into the mechanics, making sure that gameplay feels authentic and immersive [4].
Iterative storytelling: Writers and designers collaborate closely to ensure that the story remains coherent and that player choices have meaningful consequences, which may involve multiple rounds of narrative editing and feedback [3].

Comparison table: Cooperative storytelling vs. traditional game development

| Aspect | Cooperative Storytelling Card Game (e.g., Neon Hope) | Traditional Game Development ||-----------------------|---|------------------------------|| Core Objective |Collective storytelling, teamwork, narrative progression | Competition, points, victory conditions || Player Interaction | Cooperative, collaborative choices | Competitive, may include negotiation|| Mechanics | Narrative-driven, choice-based, adaptive rules | Resource management, set collection, combat|| Theme Integration | Deep, often essential to mechanics | Variable, sometimes superficial|| Playtesting Focus | Story engagement, group dynamics, narrative impact | Balance, fairness, strategic depth || Design Challenges | Ensuring story coherence, player agency, teamwork | Balance, replayability, clear win conditions|

Summary:Developing a cooperative storytelling card game like Neon Hope requires a design approach that prioritizes narrative cohesion, player collaboration, and adaptable mechanics to support shared storytelling. This contrasts with traditional game development, where the focus is typically on competitive balance and clear victory conditions [2][3][5].

Dominik Schönleben: We also look to other games for inspiration and follow the methods of recombining existing elements in new ways or building upon them with a fresh idea.
Dominik Schönleben: In our game, we wanted to create entertainment centered around storytelling, something less stereotypical and standardized.