This month’s featured designer is Christopher Chung of Flash Forward Games and aspiring designer of some very unique titles!

Featured Designer: Christopher Chung

Bellwether Games: So we’ve taken a look at your facebook page. It looks like you have a pretty solid upcoming design in Jeu de Lune Could you tell us more about this game and where you are at in the design process?

Christopher Chung: Jeu de Lune is a game for two to four players, and it’s a game involving tile placement, tile shifting, point-to-point movement, and most importantly, area control. The story line of the game is quite fairytale-like; you are a lonely Water Spirit, drifting in and out of waters searching for true love, when you happened to meet the most beautiful woman you have ever seen: The Moon Princess. The Princess tells you that she has been banished to this deserted Island on Earth, and she can only fly back to the Moon when she has found a suitable life partner. Your goal is to communicate to her that you want to be with her, but the only way you know how to communicate is through dance. She is also entertaining all offers from other Water Spirits too, so you’ll be in tough competition to win her love.

I’m at the final stages of deciding on mechanics for this game. I’ve playtested this game the most out of all of my designs, and generally people have liked it. Two prominent mechanics proved to be confusing at first play for people, however, if I simplify one of the mechanics in question, it could make the game very dull in gameplay, so it will take more playtesting to figure out what the best way of overcoming this challenge. It could also take just a rewording of instructions, which is often the case, too!

BG: This sounds incredibly unique! How did you come up with this idea? Is there a specific experience you are hoping your players will have?

CC: I was in a board game jam with two friends and we collectively made this game called “Currents”, which was tile-based and point-to-point movement, sort of like Tsuro. I was thinking a lot about tile games from that point on, so I decided to play on the idea of incorporating water into a main theme, as water is universal. The love story angle came about when I was thinking about love and why it’s not a prominent theme in board games, so I decided to put those two together and see what chemistry will come about! The experience that I want to convey is the struggle of trying to find the path of best fit, and during the game, you will need to use your opponents’ tides to dance with her, so there will be feelings of exasperation when you don’t strategize off the start of the game. I tried to reduce luck as much as possible with this game by giving you a selection of 3 tides as your hand size, so that your ability to deduce patterns will win you the game. 

Jeu De Lune by Christopher Chung

BG: Very interesting! Good luck finishing up this game! What could you tell us about your challenges prototyping, playtesting and promoting your games?

CC: In regards to prototyping, my greatest challenge is conveying my ideas through the rules and instructions. I believe developing instructions is an art form. For video games, games such as Super Meat Boy make the instructions as easy as completing a level, and you get accustomed to the game as you go along. Video games can get away with not giving you perfect information, such as one of my favorite games so far, Starseed Pilgrim (Shout out to @Droqen and team!), where there are hardly any instructions and you must explore the game itself if you have any more questions.

In board games, rules and instructions can make or break the game. I don’t mind when people introduce home rules (aside from that wretched Monopoly “Free Parking” Rule!), but they were not of intent by the designer, so as a designer, it’s tough to describe how I intend the game to be played with very concise wording. I intend to make as many “Print and Play” copies of my games with full instructions, so that the rules can be playtested with and critiqued.

To bridge over to playtesting, it is quite challenging to accomplish this task frequently. I often visit Snakes and Lattes and their game designer’s night, where people can bring any of their prototypes, pay a cover, and play until 2 am! I also playtest at Bento Miso, a game, food, and web co-working space, at their “Games with Friends” nights. I’ve had successful and unsuccessful games played at both places, and I love that I can reciprocate the playtesting. I often hear about Grant Rodiek’s “Prototype Pen Pal” program, and the success of it, yet I cannot guarantee the reciprocation of playtesting, so I have not yet entered a design there.

In terms of promotion, it’s been very limited. I’m followed by quite a number of awesome people on Twitter, and that’s where I promote my games, along with my seldom used Facebook page, but none of them have reached the limelight. I hope to create a functioning website soon, and once I hit the publishing pavement with any of my games, hopefully then I can grab more attention. I’m not a Board Game Geek frequenter at all, and I must make a habit of visiting more often, along with Board Game Designer’s Forum. There’s only so much the web can do for you, so being at a convention, whether it be Unpub, Protospiel, Gen Con, Origins, or PAX, is the grand plan, and I hope to do so very soon to spread the word of Flash Forward Games!

BG: Do you have a guiding game design principle? What is it?

CC: I’m constantly thinking about new themes, and from those themes I design the mechanics to reflect the themes. An example of this would be my upcoming game called Ultimate Mecha Melee Madness, or U.M.M.M. for short. It will involve fast paced card drawing, token placement, and dice rolling with both hands. In this game I want to reflect what it would be like to go head to head in an actual Mecha fight. I’m not afraid to go “out of the box” on themes, even if they tend to be a little alienating or controversial. Bucket List is a game where you must complete as many tasks as you can before your time is up, and at a point, I was considering that death would be the finish line for the game, but I may pivot to a different ending, depending on the feedback I receive.

BG: In your opinion what are the three most important elements of a great game?

CC: The first element is a good theme. I’ll play any game but I’ll be more inclined to be interested in themes that I find really interesting.
The second element is a series of easy-to-understand mechanics. I applaud Euro games for being really mechanically-driven, but I don’t find myself wanting to play them as much as I find many of these mechanics are very unforgiving and hard to understand.
The third element is art that is excellently done and functional.

BG: Do you have a “go-to” game mechanic? What is it?

CC: My go-to mechanic is anything with cards, whether it be deckbuilding, hand management, drafting, etc. Cards are really versatile, although it’s ironic that the game most ready for publication has zero cards!

BG: Any other favorite mechanics?

CC: I love the concept of action points, and recently playing Macao, I’m influenced to have dual-purpose “action cubes” in a game. Too bad that I was smoked by my opponent and that it left me with a bitter taste in my mouth about the overall game.

BG: In your opinion, what is the most important skill for a game designer to have?

CC: I think the most important skill, or rather, trait, would be humility. A good designer must not be strong-headed and be willing to change their game if they receive negative feedback, or at least entertain the offer of changing. I consider all suggestions after feedback, some have been great, some have been bad, but when you listen to others, they’re more inclined to help you with other games because they feel they can contribute to your success and vice versa if they were designers. I also feel that many suggestions have changed not only my games for the better, but the way I think about designing has also altered from these conversations.

BG: How do you discriminate between good and bad feedback while maintaining humility? Do you have an example of suggestions you’ve received that you knew were wrong and how you knew they were wrong? Some that were right?

CC: I know that at the end of the day, I have creative control of my games until they hit the publisher network, so feedback is good when I can see the particular suggestion fitting into the current design. When I am suggested a new feature of a game or change to a particular mechanic that I see doesn’t fit with the direction of where I want to take the game, I write it down, think about it extensively, and see where it can be implemented, if at all.

One suggestion that was excellent for the direction of Jeu De Lune was the culmination of individual player grids into one big grid. Originally each player had their own 3×3 grid, and after one playtest, my playtesters said it would work better on one communal space and it did vastly improve the game. One suggestion that was not the best was taking out the Moon Princess altogether and just moving tide to tide. That was definitely out of the question as moving from tide to tide aimlessly would not only not work thematically, but it would make the game unchallenging.

BG: Is there anyone who has been a big inspiration or help to you in your game design endeavors? If not, why do you like to design games?

CC: Although I’ve been guilty of not viewing as many blogs or listening to as many podcasts as I can, people like Daniel Solis (@DanielSolis), Grant Rodiek (@HerrohGrant), James Mathe (@MinionGames), Kim Vanderbroucke (@TheGameAisle), Mary Couzin (@board_games), and Jay Cormier & Sen Foong-Lim (@JayAndSen), and The Author M (@TheAuthorM) have been big inspirations.

My Tweeps: Chevee Dodd (@CheveeDodd), TC Petty III (@PuppyShogun), Agust Blondal (@MarketDayArcher), Nathanuil DeMille (@BlankWallGames), Jeremiah Lee (@jeremiah042), Corey Young (@C_M_Young), John Moller (@CartrunkEnt), Benny Sperling (@benny275), Tim Duong (@TimSophos), Jason Anarchy (@DrinkingQuest), Danny Devine (@d3devine), Jesse Catron (@ktronod), Ed Marriott (@EdPMarriott), Jason Tagmire (@Jtagmire), Officer Blair (@Bahflug), The Cardboard Edison folks (@CardboardEdison), and Van Ryder Games (@VanRyderGames) among so many others have been quite amazing to me and very inspirational and I can’t thank them enough for being a big part of who I am as a designer.

Thanks as well to my friends at Snakes and Lattes – Stephen Sauer (@MonsterMakeThis), Daryl Andrews (@DarylMAndrews), Bento Miso – Henry Faber (@HenryFaber), David Gallant (@DavidSGallant), Jonathan Levstein (@JLevstein), Damian Sommer (@DamianSommer), and at Ryerson University!

BG: What do you think is the future of board game/tabletop game design?

CC: I think there’s going to be a comeback of board games. Snakes and Lattes among other board game cafes help with this immensely, and the multitude of game designers really push out some amazing games that contribute to the success and re-establishment of board games in popular culture. I applaud all the reviewers who dedicate their time to review all these great games, and they are a great source of information for people just getting into the board game fold. I also love the fact that Tabletop is doing an amazing job bringing many new players in and entertaining them while doing so, and I just love Beer and Board Games for its sheer hilariousness, though I don’t recommend it to those of younger ages!

I do realize that video games are still king, and I am a huge supporter of independent video games, but what video games often lack are the social benefits that sitting down at a table with your family and friends playing some games provide. There’s nothing like rolling real dice and playing with real cards. The experience is just so immersive.

BG: With so many great games coming out, do you think there is a danger of all the good ideas drying up? How do you plan to make games that will stand out?

CC: I think that good ideas will always be generated every day, so no they won’t dry up, although I will say that many themes have run their course in being used, especially seaport trading, zombies, and farming. Mechanics are often repeated and expanded upon so I don’t think they can be exhausted. I plan to make games that are thematically different and with easy-to-understand mechanics so that no one is alienated from playing my games. Often my games reflect a certain part of my personality or my life; for example, Bucket List is all about my goal of accomplishing tasks later in life even though I should consider doing them now, and my newest design, Commedia D’amore, is all about my experience in drama class in high school, learning about Commedia Dell’arte.

I will continue to have an inquisitive mind and explore every opportunity to make games that speak volumes about who I am as a game designer. I will not make a game if I will not enjoy playing it, even if many people do. I am proud of what I’ve accomplished so far, and will keep at it for as long as I can put my mind to it.

BG: Anything else you would like to highlight about your projects? Any links/pictures you would like to share?

CC: I love to design games because it gives me an avenue to be creative and to share my creations with many people is just an amazing feeling. One day I hope that at least one of my games reaches publication such that I can share my games with the world.

I want to be able to help out other aspiring designers bring their games to market, and after doing this for more than half a year now, I realized that it’s absolutely hard to take a game from idea to publication. What I’m planning is to build a platform that allows people to create board games from scratch for very little money and expose it to as many artists, publishers, reviewers, and playtesters as possible. I can’t say much more than that, but I want to provide a way for everyone to enjoy board game creation, especially families who want to spend more time together.

BG: Thanks again for speaking with us and telling us about your games! Good luck to you as you search for a publisher for Jeu De Lune!

Interested in learning more about board game design? Listen to what these designers have to say:

Damon Tabb, designer of KerFlip

Chris Fanchi, designer of Basketball G.M.

Michael Iachini, designer of Chaos & Alchemy

Jason Tagmire, designer of Pixel Lincoln

Try our Carta Mundi award-winning card game, Drop Site!

This month’s Bellwether Games featured designer is Damon Tabb, designer of the award-winning word game KerFlip. Damon is giving away a FREE copy of KerFlip to one lucky reader. See bottom of the page for details…

KerFlip designer, Damon Tabb

Bellwether Games:  Hi Damon, thanks for speaking with us! We’ve taken a look at the KerFlip demo and can honestly say that it looks like a lot of fun! Could you give us a brief summary of how this game came about?

Damon Tabb: First off, thank you! It’s an honor to be featured here on Bellwether Games! The idea for KerFlip came a few years ago back in the heyday of Scrabulous, which was basically online Scrabble at the time. My wife and I would typically play a couple of games after dinner. Anyway, there was a stretch of about a week where I couldn’t catch a break, and I was stuck playing words like AIOLI and AUDIO while she kept getting all the good letters! Suffice it to say, it’s a testament to her good spirit that she’ll play games with me at all anymore, let alone word games. However, the basic idea for KerFlip was born from the depths of my frustration during that losing streak: essentially, an anagramming game that doesn’t leave victory to the random chance of the draw, that you don’t have to be a walking dictionary to win, and that isn’t a crossword, Scrabble, or Boggle clone.

BG: Who wins KerFlip most between you and your wife?

DT: That would most likely depend on who you ask…

BG: Could you describe the path you have taken from the inception of the idea to publication?

DT: That’s a pretty long path with a lot of stops and starts along the way! But I’ll do my best…
The earliest prototypes didn’t even play very much like the game as released. It all took a while to coalesce, and I went through about three prototypes before hitting on the elements of the game that were most fun or that worked best together. At that point, I knew that I wanted tiles to be worth more to the first player that used them, but I hadn’t yet contrived the flip-scoring mechanism, so I had this neat little board that segregated used from unused tiles, which worked really well but, ultimately, wasn’t as elegant as flip-scoring. I also knew that I wanted to have premium tiles, but I wanted to steer clear of the traditional model of just printing extra points on them, so that’s when the bonus cards came into existence.

It wasn’t until much later in development, when I was pretty much happy with major game-play that I was thinking about the packaging. I’d initially planned to package the game in a box with a traditional plastic tray that holds the components, and I thought: it’s just a waste to have all that empty space in the box. Can’t it be put to better use? I realized that if you played the game in the box, on a board with a custom-designed tray under it, you could funnel the used tiles into a collection area. After about an hour, I had a rough sketch of the chutes and funnel system. At that point, I knew this could be a really cool feature, since it addressed one of my pet peeves about tile games in general, namely cleanup. After consulting with a Solidworks (3D prototyping) designer, I had confirmation that the tray could absolutely be manufactured, and I was pumped.

Inside the KerFlip Box

However, the initial prototype that I shopped around only had the tile chutes, where you could sweep used tiles off of the board into a walled-off area. It didn’t have a working funnel and cup system, like the ones in the images. When I pitched the game, I showed publishers the prototype and some high-quality rendered printouts of what the tile collection functionality would look like. In hindsight, I would have absolutely built the fully functioning prototype for pitching the game, because you can’t really experience how neat that is without actually doing it.

KerFlip prototype by Damon Tabb

In any case, the first publisher I showed the game to was interested. However, the direction they wanted to take the game turned out to be considerably different from mine. For example, they wanted to essentially create a travel version of the game first which didn’t have the tile collection system, and, if it sold well, create a deluxe version with all the bells and whistles. They also nixed the cards and went about bonus points the more traditional way. Ultimately, their game was very different from the one I pitched to them. Again, I think if I had shown them a fully-functioning prototype, they might not have wanted to go the route they did. Then again, a lot of it came down to production margins, so it might not have made any difference.

Still, I was thrilled to be working with them, since they were a well-respected publisher, and it would have been my first title, so I was okay with the direction they took. However, late (about a year) in the process, the factory that would be producing the games for them closed, and the publisher was essentially back at square one with sourcing and planning. It would have been at least another year before the game was released. I was a bit impatient (and naïve), and asked if I could have the rights back. They were understanding, both of the fact that the process was taking a long time, and that we had different creative visions for the game. So they said okay.

Of course, it still took a year from that point forward to release the game, but as a self-published title. Although it was a crazy amount of work, it was also an incredible learning experience, so I have no regrets about that (now that I’ve been through it, anyway). I released KerFlip in May 2012 and, shortly after, the game won its first award. I was psyched, and continued submitting to competitions.

KerFlip Prototype Box

After almost a year of self-publishing, I found that I was spending all my spare time doing all the things you have to do when you self-publish, and spending zero time on developing new games. Considering I had a full time job and a family I still wanted to be a member of, the lack of time in general was becoming very frustrating. So finding a publisher to work with was definitely a priority for me. A few weeks after I reached out to you here at Bellwether Games, I started reaching out to publishers again. One of the companies that was interested was Game Salute, which, I’m happy to say, recently added KerFlip to their list of Powered by Game Salute titles.

BG: That’s quite a story! We hope your work with Game Salute goes well! Do you have a guiding game design principle? What is it?

DT: In general, I think it’s fun to mix up genres and game mechanics, perhaps because the creative process itself is like a “cognitive blender” of sorts; the more innovative and adventurous you are when adding ingredients, usually the more interesting the result. For example, one of my upcoming concoctions could be considered a real-time adventure-themed strategy-driven memory game. I know, it sounds a bit crazy, but it actually tastes really good!

I also think it’s helpful to keep specific goals in mind while conceptualizing and play testing. First and foremost, is the game or concept fun? Because, if it’s not, unless it’s a “serious game,” then what’s the point? Second, is it elegant? I scrutinize every facet and component of the game to see how it can be simplified. All else being equal, the simpler, more elegant, version of a game is usually better. When possible, I also try to identify usability deficiencies, or ask how I can improve upon what’s been done before. I think this kind of exploratory thinking helps me derive innovative solutions to the questions that come up throughout development and play testing.

BG: In your opinion what are the three most important elements of a great game?

DT: This is a surprisingly tough question! In order to be successful, a game must inspire people to (1) learn how to play it, (2) play it again, and (3) invite others to play it. But I think these qualities might be the marks of a great game rather than elements of one. Digging a little deeper, I think a really great game:

• Answers the question “wouldn’t it be cool if…?”
• Allows players to prevail based mainly on skill rather than luck
• Is relatively easy for newcomers to learn, while allowing power players the flexibility to devise their own strategies

BG: You emphasized in both instances the ability to get people to learn and play. How have you gone about evaluating how well your designs have been able to draw people in? Any tips for the rest of us about how to get playtesters?

DT: Admittedly, I could have done a lot more to draw people in than I did. Of course, I started with roping in family and friends. That was about 10 people, about half of whom lived in another state. So, I started attending game nights at a local game store and got to know some of the employees, who were happy to help me test the game from time to time.

I ended up having a playtest every two weeks or so. After each playtest, I would typically crawl into my hole for most of the night and emerge the next day with revisions, ready to test them out. It was painful to have to wait a week or two until I could get a couple of people over for another playtest, even when I lured them with free pizza and beer (after all, they had jobs and families too!) This is where I could have done a better job, joining (or starting) online and local game design groups, not just to find people who were willing to help test my games, but to also help them test theirs, which is something I really enjoy doing.

I’ve since created a Word Games group on meetup.com, which meets every two weeks, but this is to meet new people and learn about existing word games on the market (there are so many!), not to test my new designs. However, I know there are game design meetups as well, where members can bring prototypes for testing. I also recently learned of protospiel, which really sounds amazing, and I hope they expand their range soon to include New York.

Another avenue to explore, particularly if your game skews a bit younger, is to approach local schools and children’s organizations. This is also the most effective way of “aging” your game. I initially thought KerFlip would be for ages 10 and up, but revised that to 8 and up based on results received from testing at an elementary school. An added perk is that the kids absolutely love being part of the process, and they tell their parents and friends all about the cool new game they helped design, not to mention the satisfaction you derive from seeing the kids having fun playing something you created.

Regarding making the game accessible, I think this is critical if the game is to be successful. There are different levels of accessibility, though, depending on the game’s target audience. While KerFlip is for ages 8 and up and, I wouldn’t expect an 8-year old to read the rules themselves, but they totally get the game once it’s explained to them. I must have revised the rules for KerFlip over 100 times. At one point relatively early on, I was stuck with a version of the rules that I knew could be better. So I hired a writer (a recent college grad who didn’t charge an arm and a leg) to do a quick treatment and see if she could approach it with a bit less technicality. While the vast majority of what she wrote has since been revised or edited out, it helped spur me to see that there were other, more player-friendly ways to explain the game that were more appropriate to the target audience.

BG: Great thoughts about playtesting! Do you have a “go-to” game mechanic? What is it? Or what are some of your favorite mechanics?

DT: Not really. Although, to date, the majority of games I’ve designed have either been real-time or have incorporated some sort of real-time component. I think adding the element of urgency into the equation is a mechanism that brings players’ abilities to the forefront and allows them to compete based primarily on skill. Even in chess, given two equally skilled players, the player who moves first has the advantage and will win the majority of the time. I guess, to sum this question up, I value quick-thinking in games, although you’d never be able tell by how I play Scrabble or Chess. (I’m allergic to timers.)

BG: In your opinion, what is the most important skill for a game designer to have?

DT: Probably perseverance. After the initial surge of creativity that propels me through a game’s first prototype, the creative sparks begin to require increasingly longer periods of play testing and revision. I’ve found that it’s usually those ensuing “aha!” moments that refine and simplify an otherwise decent game to the point where it’s good, or even great. For example, with KerFlip, while I’d already come up with the basic mechanism for scoring–that tiles which have already been used are worth half their initial value–the idea for flip-scoring didn’t come until rather late in development, after literally weeks of pondering how I could simplify the scoring process even further. There were definitely times when I wanted to say it’s good enough, but I knew that there was a more elegant solution than what I currently had. I just had to take the time to find it.

BG: Is there a word we could create to define that nagging feeling you have when you know there is a more elegant solution?

DT: Heheh, maybe “perfuzzled/perfuzzlement”?

BG: Good word! Let’s see if it catches on! How many prototypes did you make for Kerflip? Any thoughts about making good prototypes?

DT: In all, I made three early prototypes and two final prototypes, one of which I later modified to include a fully-functioning tile collection system. When designing, I try to think about the entire user experience of playing the game, from setting up to cleaning up. Granted, a marketing guru might say that people are going to play the game in their minds the first time they see it on the shelf, so package design and shelf presence are also very important. But, that doesn’t really apply to prototypes.

In the early stages, to just get a quick sense of what the game will play like, the prototype doesn’t have to be very pretty. So I tend to start out fairly simply. Once I’m pretty sure the bulk of gameplay is hammered out, I’ll spend some time making another prototype that looks good. This has benefits and drawbacks. Probably every time I’ve gone ahead and spent time on a “nice” prototype, I’ve jumped the gun, and ended up having to make another one because of further revisions. On the other hand, the more time you put in on these mid-stage prototypes, the more your play testers can get a feel of what the final product will play like.

If you have a strong vision of what the game will play like, do your best to make it happen in your later prototypes, especially if you plan to pitch the game to publishers. I think not doing that was definitely an early mistake on my part. Also, take as much time as you need to do it right. If it’s tedious (and it will be a lot of the time), do the grunt work while watching TV or listening to music. Another route you can take is to find a game design intern. I did that a while back and, while I wasn’t able to pay hourly, I did pay to take him to conventions with me. So he got some paid working vacations out of it. And, while he’s long since moved on and gotten a real job, we’re still good friends to boot.

Something else, and this wasn’t around even a couple of years ago, are 3D printers. I read that in a year or so, you might be able to buy one of these for less than the cost of an iPad! Wow, imagine the fun you can have prototyping your components with that! I could have run off a few of the custom trays for KerFlip if I owned, or had access, to one of those.

BG: Is there anyone who has been a big inspiration or help to you in your game design endeavors? If not, why do you like to design games?

DT: I have a couple of friends who love games and puzzles who have been very helpful through the years. They’ve offered encouragement and above all else, have been honest with me. They let me know in no uncertain terms when they think something isn’t working. As a designer, I think you need that kind of feedback. You may not always agree with it and, ultimately, you have to go with your instincts, but you at least need to be receptive to that kind of constructive criticism, because you rarely get it. In addition to being an inspiration, another friend of mine, who self-published a successful card game, has been extremely supportive and is always willing to help out with sage advice. It goes without saying that having a support network of honest, experienced people has been invaluable, especially as a neophyte designer trying to learn the secrets of the trade.

BG: Any online game design communities you utilize?

DT: This is definitely an area that, until a few months ago, I didn’t know very much about, and I’m still learning. There are so many game design groups and communities, were I to start all over again knowing what I know now, I might have done things completely differently.

BG: How important to you is collaboration in the game design process?

DT: To date, I haven’t collaborated with anyone (other than playtesters) when designing a board game. I’m curious to see how that might work out, though, because I enjoy the collaborative process and the ideas it can generate. It would also be interesting to see what happens when there are disagreements about what directions to take. I can’t speak for everyone, but the process of designing a game is very personal, and it’s very easy to get attached to ideas. Unless the members of the group were really able to mesh, put their egos away (my own included), and work together as a well-oiled machine, I could see the final product being sort of a Frankenspiele, or the process itself just stalling.

BG: Anything else you would like to highlight about your projects? Any links/pictures you would like to share?

DT: I just want to mention how excited I am to have recently partnered with Game Salute to publish and distribute KerFlip. I’d heard some really wonderful things about the team at GS, some of them right here from your other designer interviews, and I couldn’t be more thrilled to be working with them!

Your readers can tune in to all the exciting developments about KerFlip as well as our upcoming ground-breaking new games by following us at www.facebook.com/kerflip and on Twitter @Kerflip. To date, KerFlip has won seven awards, including GAMES Magazine’s Best New Word Game for 2013. For more information, visit www.kerflip.com.

Thanks again for having me here on Bellwether Games!

BG: Damon has offered a FREE copy of KerFlip to one lucky reader who checks out his video tutorial of KerFlip, which you can see here! To win, send an email to info@bellwethergames.com with the answer to the following question: What is the third word created in the video? 

We will select one email respondent at random to receive a copy of KerFlip. Only email responses received by info@bellwethergames.com between 9:00am CST on April 9, 2013 and 11:59pm on April 30, 2013 will be eligible to win. We will notify you on May 1, 2013 if you have won!