The strategic pivot: integrating uncertainty into the game design process

In the realm of functional design, predictability is often viewed as the ultimate benchmark of quality. As Costikyan (2013, p. 16) argues, in real-life situations—such as shopping online, electing a congressman, or utilizing software for work—we demand a lack of ambiguity, noting that "we prefer simplicity, surety, and consistency." In these contexts, uncertainty is a defect to be mitigated, as users prioritize efficiency and the seamless achievement of specific goals. However, the architecture of game design operates on a fundamentally different logic, where the elimination of the unknown would result in a sterile and unengaging experience.

While we strive to minimize unpredictability in quotidian services, within the ludic context, "a degree of uncertainty is essential" (COSTIKYAN, 2013, p. 16). This element serves as the primary catalyst for player immersion and entertainment, transforming a static system into a dynamic challenge. By strategically withholding information or complicating the path to victory, designers create a "possibility space" that compels players to remain cognitively engaged. Without this tension between the player's intent and the outcome's volatility, the experience loses its competitive and emotional resonance.



The implementation of this uncertainty is not monolithic but is derived from various structural layers. Costikyan (2013) analyzes different kinds of games and explains that sometimes uncertainty comes from programmed random results, such as dice rolls or procedural generation; other times, uncertainty lies within opponents and how they perform, particularly in multiplayer environments. Ultimately, uncertainty may result from the player's own abilities in the game, where the execution of a maneuver or the solution to a puzzle remains in doubt until the moment of fruition.

Therefore, the game design process must be viewed as the calibrated management of these various "sources of doubt". A successful designer does not merely create a set of rules, but rather orchestrates a sophisticated balance between agency and chance. By understanding that uncertainty is not a flaw to be corrected, but a strategic tool to be leveraged, developers can craft experiences that transcend simple utility, providing the meaningful struggle that defines the very essence of play.

#GoGamers

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Reference:
COSTIKYAN, Greg. Uncertainty in games. Massachusetts: MIT Press, 2013.

My most played mechanics of 2025: why trick-taking and climbing stole the show

In 2025, my journey through the world of tabletop gaming was defined by a deep dive into two specific mechanics: trick-taking and climbing. Looking back at the hundreds of hands played, these genres provided the most tension, strategy, and pure excitement at my table. There is an undeniable elegance in how these games use a simple deck of cards to create complex social dynamics and tactical puzzles, making them my most-played styles of the year.



My fascination with trick-taking reached new heights through titles that pushed the boundaries of the traditional formula. Sáng Dèn stood out for its incredible atmosphere and the way it forced me to rethink how I managed my hand, while Salty provided a sharper, more competitive edge that kept my gaming group coming back for "just one more round." Perhaps the most experimental highlight was Match-fixer’s High, a game that brilliantly subverted the goal of winning tricks, turning every lead into a psychological battle of manipulation and calculated risks. These games proved that even within a centuries-old mechanic, there is still so much room for innovation.

On the other side of the coin, climbing and shedding games offered a completely different kind of rush. The feeling of jumping over an opponent's play with a stronger combination is unmatched, and Odin was undoubtedly the king of this experience for me in 2025. Its clever system of incorporating played cards back into your hand transformed the math of the game into a fluid, evolving strategy. I also found myself captivated by the high-stakes combinations in Haggis (excellent for two players, by the way), which remains a masterclass in card play, and the chaotic, inventive energy of Inchiki Daifugo. Whether I was trying to master a lead in a trick-taking game or aiming to be the first to empty my hand in a climbing match, these titles defined my year in gaming and solidified these mechanics as my absolute favorites.

#GoGamers

Top 10 games - 2025 edition!

Riding the wave of the Game Awards, I'm going to present my modest list of the 10 best games I played this year. There is no particular order of preference. They were the most incredible games I played. Here is the list!

Hauntii



Blue Prince



Hellblade 2



Silk Song



Hades 2



Indika



Clair Obscur: Expedition 33



Dispatch



Cosmic Invasion



The Alters



#GoGamers

The interesting ecosystem of Swedish RPGs

Sweden stands as a truly unique bastion in the landscape of tabletop role-playing games. In this post, we will delve into the distinct characteristics of this creative hub, exploring a region that has consistently published—and continues to deliver—some of the most innovative and compelling titles the genre has ever seen.



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To think about game design process

An excellent point of view about game design by Anton Slashcev. Click here to check the original post.



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Using Artificial Intelligence in board game beta testing

Undoubtedly, artificial intelligence is rapidly pervading our daily lives, from entertainment to professional applications. We are immersed in a technological context where the competency to effectively utilize diverse tools is essential for optimizing our actions and outcomes. In this post, I will discuss the methodology I employed in using AI for the beta testing phase of my last two board game projects.

First and foremost, I must clarify that my application of AI is not a substitute for creative effort. I avoid using lazy or generic prompts such as, "create a card game with Roman Empire theme using trick track mechanics." I consider this approach to be ineffective, as it would likely yield a generic, derivative product lacking a distinct core concept or "soul."

Instead, I employ AI in a pragmatic and iterative manner. The process begins with establishing the game's core concept, writing the comprehensive rulebook, and compiling a complete list of assets (board, components, dice, etc.). This initial stage results in a prototype ready for preliminary testing. However, prior to testing with human players, I utilize Manus AI to conduct a complete virtual beta test session.



The process is straightforward: I submit the rulebook (PDF) and the file detailing the game pieces (PDF). I then provide the initial prompt: "Manus, I request you to analyze the content regarding my new game. Upon completion of this analysis, please identify any aspects that are not completely unambiguous or 'crystal clear'." After addressing the system’s initial queries, the final prompt is executed: "I now request 100 simulations encompassing two, three, and four players. The required output is a detailed feedback report assessing game balance, pointing out potential rule errors, and suggesting improvements for the core mechanics." A significant advantage of Manus is its capability to generate Python programming code to facilitate testing on external platforms beyond the application itself.

It is crucial to note that testing with human players will always remain a fundamental part of the development cycle. Nevertheless, the initial results demonstrate that the prototypes are significantly more refined before the first human playtest. For example, in a recent beta testing session for my new game, the prototype was substantially more polished prior to the initial live test. The overall iteration process becomes considerably more efficient when AI is applied judiciously.

I am currently refining this methodology and anticipate being able to share further insights and impressions soon.

#GoGamers

The clash between diegetic and non-diegetic elements in Hellblade: Senua's Sacrifice

Iacovides et al. (2015, p. 1) distinguish game interface elements into two categories: diegetic elements, which are integrated into the game's fictional reality and can be perceived by the characters, and non-diegetic elements, which are exclusive to the players' perspective. According to these authors, common wisdom in the games industry suggests that excessive use of non-diegetic elements, such as Head-Up Displays (HUDs), can potentially compromise the immersion process. Hellblade: Senua's Sacrifice challenges this convention, offering a remarkable demonstration of how these concepts can be manipulated to deepen the player's experience.



The game stands out for its almost complete elimination of non-diegetic elements. The absence of a health bar, a map, or equipment indicators forces the player to interpret information organically. Senua's health and status are communicated through signals that, while functionally essential for progression, are intrinsically rooted in the narrative. The damage suffered by the character, for instance, is expressed by the progression of a dark "corruption" spreading across her right arm, a visual manifestation of the protagonist's mental illness.



However, one of the game's highlights lies in the fusion between diegesis and the non-diegetic experience. In this regard, we turn to Galloway (2006, pp. 6-7 ), who defines diegesis as the "total world of narrative actions". From this perspective, we can hypothesise that in Hellblade, this world is the subjective and chaotic universe of Senua's mind. Elements that would conventionally be non-diegetic in other games, such as audio cues indicating the path or voices warning of enemy presence, are, in reality, manifestations of the character's psychosis. The player does not receive mere hints; they experience the diegesis of insanity, where the perception of reality is mediated by Senua's suffering. The game's hermeneutics, therefore, cease to be a detached interpretation and become a real-time performance, where the act of playing and interpretation merge into the immersive experience proposed by the system.

The game thus demonstrates that the distinction between diegetic and non-diegetic can be intentionally obscured to create a more cohesive and psychologically immersive gaming experience. By eliminating the HUD and transforming feedback elements into an integral part of the narrative and character perception, Hellblade not only enhances immersion but also establishes a pattern for interface design that seeks to deepen the connection between the player and the fictional universe. Building on this, it is possible to argue that in Senua's Sacrifice, the player potentially experiences a "meta-diegesis." Here, we employ this term to understand a meta-diegetic situation as one that refers to elements which, although intrinsically belonging to the game's diegetic world, communicate directly with the player, subtly subverting the fourth wall. The voices in protagonist Senua's mind represent a compelling application of this idea.

The meta-diegetic nature of Senua's voices can be understood from three analytical perspectives. Firstly, their existence is diegetically grounded: they do not constitute an external narrator or an interface element dissociated from the narrative. On the contrary, they are a central manifestation of the character's psychosis, affecting her perception and interaction with the world. Secondly, they perform an essential non-diegetic function for gameplay. They act as a dynamic feedback system, providing the player with alerts about imminent threats, spatial guidance, and hints for puzzle-solving – functions that, in other games, would be delegated to a HUD or conventional narrator cues.

Finally, the use of voices blurs the boundary between player and character. By merging narrative function with gameplay, the game transcends the mere presentation of information, inviting the player to actively experience Senua's ordeal. The anguish, confusion, and cognitive dissonance caused by the voices become part of the player's immersive experience, and not merely an object of observation. Therefore, the voices in Hellblade constitute a paradigmatic meta-diegetic element, functioning as an interface that deepens immersion rather than breaking it, and offering a sophisticated approach to how narrative elements can be co-opted to optimise the interactive experience.

Meticulous observation of the diegetic, non-diegetic, and meta-diegetic elements in Hellblade: Senua's Sacrifice forms the methodological foundation for an in-depth analysis of the game as an empirical object. By examining the intentional elimination of traditional interface elements (HUD) and the subsequent adoption of a meta-diegetic interface, represented by the voices tormenting the protagonist, it becomes possible to unravel the complexity of its structure.

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References

Galloway, A. R. (2006) Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press, pp. 6-7.

Iacovides, I., Cox, A. L. and Kennedy, R. (2015) ‘Diegetic and Non-Diegetic Interface Elements in Digital Games: A Review of Prior Work’. In Proceedings of the 2015 Annual Symposium on Computer-Human Interaction in Play. London: ACM, p. 1.