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Cover
art. We all love it. In our early gaming days, it provided a
glimpse of what the game would be like. Exciting adventures, epic
battles,
grand civilizations and exotic locations that capture the imagination.
As the gamer grows more experienced, the art becomes more a matter
of appreciation than a source of information on game play – appreciation
for quality, collectible and potential for decorating the shelves
or coffee table with. The gap between the depiction of the theme
on the cover and how “thematic” the game play feels
becomes more pronounced as one has purchased many games. Not
that this gap is a bad thing, as there is nothing like a beautiful
cover
with an inspirational image. |
 Covers from the ’40s to present. It is interesting to see how similar and consistent basic designs have remained. |
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Thematic Illustration
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Atmospheric
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People-Like-Me
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Hard-Hitting Type
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Abstract
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Here’s-The-Game
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| Taking
a closer look at game covers, it became clear that there are a wide range
of distinct looks that game covers fall into. So then, what are these
looks and what do they mean? I’ve broken down the executions into
six categories. 1. The Thematic Illustration execution 2. The Atmospheric execution 3. The People-Like-Me execution 4. The Hard-Hitting Type execution 5. The Abstract execution 6. The Here's-The-Game execution Not part of this search are licensed properties and wargames. As an overview, above is one example from each group. |
| 1.
The Thematic Illustration Execution As previously mentioned, in a majority of games, we find that the cover focuses on a situation relating to the theme. The cover seeks to explain the theme, mechanic and/or game play as best as possible. To compensate for lack of theme in games, occasionally, covers will be highly themed. In essence, spicing up what is a “dry” game. Themed covers can also bring to life the epic proportions that a game might represent. Such covers such as Twilight Imperium III definitely feel epic. Finally, this technique serves to better explain the nature of the game at hand. Sorry! falls into this category because the focus of the cover art is on the main game mechanic of bumping players back. In this case, this complete abstract action is the theme. 
A popular game that uses this technique of drawing out more detail through illustration is Ticket to Ride. “Ticket to Ride” is a fine name, but may not necessarily say “train game” to everyone. So, by showing a period train with period people, we assume this has something to do with turn-of-the-century trains. In addition, the gears in the background suggests industry, so one may make a connection here as well. Beyond describing a time frame, the people in the foreground help to make the game seem friendly and soften the abstractness of the actual play. 
Metro is one cover that I really like. The centered image of the construction of a tunnel system within parisian city block is quite effective in telling a story, while remaining beautiful and graphic. The addition of an Art Nouveau title rendered after the old Metro sign completes the look. The placement of this title centered above the tunnel mouth creates a wonderful positive negative back and forth between the two.  Clue (2005) was also a wonderful surprise to see. This classic mass market hit has an outstanding fresh look on a few levels. The illustration art – a fun execution of early modernist art from the 20s – is bright, colorful and dynamic. It has bold elements within the illustration – the close up of the faces – as well as depth from the room setting. This all contributes to a piece that draws the eye to the package and then in further as one travels into the illustration. The bold letterforms of Clue help identification of this familiar title.  Reef Encounter is another beauty. The quiet composition is contemplative and thoughtful – reflective of the the nature of the game. The soft pastel colors seem odd (in a good way) and otherworldly. The title letters – as constructed reef pieces – morph into the picture and are placed untraditionally off center and low. This gives the impression of a painting or piece of art rather a picture with a logo on it as one finds in most game covers. In summary, this category seeks to describe a game’s dynamic and theme in as much detail as possible. This can be illustration or photography relating to the theme and game play or just the game play for abstract games. This overview provides a snapshot of these and many others that fall into this category games. 2. The Atmospheric Execution This look is defined by art that is suggestive of one aspect of the theme or tone of the game. Such executions feature an image that is more about mood than about scripting or detailing game play as the first category does. Examples here include Tikal and those of that series, China, San Marco and Mr. President.   A twist on this category is the Project Gipf series which includes Dvonn, Tamsk and Gipf. In a game with no atmosphere or theme whatsoever, one has been added to what would have been a simple product shot. Here, we find the pure forms of the game pieces within the context of violent landscapes — as if to say, “This game is emotional and dramatic!” From the old 3M/Avalon Hill series we have many wonderful covers with unique point of view — an illustrated version of the board in play with an atmospheric setting. Curious and beautiful games such as Feudal, Ploy, Breakthrough and Acquire (the original) are worth mention. 
In this category, I really enjoy the look of China. As mentioned, it would have been easy to put this title in the themed category, but the cover does little to explain the details of the game. It seems like it might be about temple building, but the mood created by the strong sunset, overpowers this communication. Instead, it is simply an evocative, well designed, dramatic piece such that I say to myself “I want to be there!” 
Tikal is another cover which has a power from simplicity — often a trait of those in this category. The rich, deep colors and heavy sculpting of the mask are very pleasing to look at. The evocative cover teases the viewer like a trailside monument that warns of adventures and danger up ahead. Look and compare within this category. 3. The People-Like-Me Execution Particularly popular with children’s games, this category is characterized as having photographs or images of people playing the game. Children, looking for similarities in themselves, often gravitate to images of other children. So, we find that a great deal of mass market children’s games display a complimentary collection of brother / sister / family combos on the covers generally laughing or with some other emotive cue. There is no denying through this communication that, indeed, this game must be fun. After all, these kids are having a great time!  In the 12+ bucket we get variations on this theme with titles like Times Up. Here, “regular people” find themselves transformed into roles they are describing Ð a whacker side to this expression. One interesting example can be found with Batik and Quoridor of the same company. Here, a look that would have fit purely under the Here’s-The-Product category includes a photo tipped on the cover of a family playing the game. Its small scale and inclusion on the box seems as an afterthought. As if the publishers thought, “Whooops, but how will they know this beautiful game is fun to play?”  Another interesting approach is simply to illustrate the people (rather than photograph them). A 3M game called Phlounder and the Ungame show variations on this approach. In so illustrating, style and tone can be a strong factor that has an advantage over simply shooting a person. As iPod advertising allows one to get caught up in the style rather than the particular model, so to is this illustrative approach more interesting than a simple photograph. 4. The Hard Hitting Type Execution A technique that has been around since the dawn of modern game publication, this category now dominates the party genre. Fast and quick to design, this solution satisfies conditions where speed to market and cost cutting are big considerations. The large type can hold a great deal of solid colors, so this is a way of introducing all sorts of festive colors to the cover's palette. Also, the marketing belief that giant overpowering type is better, can also play a role here as these games tend to be mass oriented. Unfortunately, this thinking errs just as in a room full of guests wearing bright, Hawaiian shirts, the guy in a plain black suit will undoubtedly stand out. This genre is particularly susceptible to trend looks and style. Some examples in this category include Fluxx, Scrabble and Apples to Apples (Party Box), Frazzle! and Derivation. |
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