His primary role in design at the time was representing play design on Vision Design teams. It was a joy to have such a good relationship with the vision design lead and to never have had to worry about any disagreements turning into a protracted conflict spanning many years months and causing untold destruction.īryan Hawley – Bryan continued from the Vision Design team for a month into set design. It can be easy to lose track of such things as you dive deeper and deeper into the nitty-gritty of executing on mechanics and gameplay. Once we nailed down the suite of mechanics and themes, her role shifted toward making sure that the set continued to meet its goals of properly expressing the lore and themes of the Brothers' War. We worked closely together when she was leading the Vision Design team, and it was invaluable to continue that partnership during set design.ĭuring the first few months of set design, we worked closely together as we iterated on the mechanics created during vision design and tried different combinations of those options to manage the complexity of the set. (Although the last entry on Yoni was written by me.)Īri Nieh – Ari stayed on the team as we transitioned into set design and for most of the team's lifespan. Band of BrothersĪs always, I have the lead designer, in this case Yoni Skolnik, introduce their design team. I'll introduce you to the team members and then walk you through how the set went from the vision design handoff to print. This week, I'm going to discuss the set design. Last week, I told the story of the set's vision design. Welcome to the second week of the story of The Brothers' War design.

Making Magic by Jess Whitecroft