Author: Dillon

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‘Fraudocracy!’ by Dillon DeSantis

‘Fraudocracy!’ is a one-on-one political satire card game where players use characters with influence hijack parties and rig power structures. It targets fans of games with social commentary. The game uses 3D-printed tiles, each representing a societal figure and containing directional spike values that dictate their individual ‘influence’. It depends not only on which tiles (characters) you get but also how you play them (offensively or defensively). The person with the most power over a party (purple or green) wins. Through its mechanics, the game satirizes how institutional power is often less about who you are and more about how you position yourself—rewarding manipulation, betrayal, and opportunism as viable paths to dominance.

Over Winter Break, I hyper-fixated on the old game franchise ‘Skylanders’. Within 6 of their games, 5 of them feature a minigame called ‘Skystones’. Stones are based on previously defeated in-game enemies, and feature various spike values encompassing them to represent how much damage they do to adjacent stones. I knew I wanted to make something for Game Design using this concept.

The political portion of the game is more of a manifestation of my emotions than an intentional decision. Not that I regret making this game per say – I don’t – but I most likely would have gone with a different theme had there not been political… ‘events’… that transpired during the start of the semester. I’ve been sitting here for like 30 minutes trying to figure out how to word this section, but I’m sure we all know what I’m referring to.

The first challenge was figuring out how to convey dynamic ownership of a card. In a round of Skystones, one card may have its color changed several times, and I wanted to remain faithful to that. The prototype used double-sided index cards with a “Corrupt” (Bad) side and an “Altruist” (Good) side. The spikes were represented with numeric values. I initially wanted 2 designs for each character – one for each side – and require players to flip cards whenever they gained ownership of them.

The first playtest revealed this wouldn’t be a viable mechanic because, not only did it take extremely long to do each time, it was also difficult to do when cards were placed next to each other. I needed to figure out a new way to represent ownership.

After a lot of thought and discussion, I concluded I’d make additional ‘frame’ pieces to magnetically attach to the cards. This change had the unintentional benefit of making the game even more faithful to its inspiration, as Skystones have a colored outline around them.

So I had a decent idea for a game, that’s good; but how do I even make these pieces? The biggest problem was my desire to make them weighted – something paper/cardboard/posterboard is not. It wasn’t until one class whenever Reese asked me to playtest his game, Invasion, which had used 3D printed pieces. I immediately knew I wanted to do the same, completely ignoring the fact I had never used one or anything remotely similar. I used a browser-based modeling software called Tinkercad to create my first model:

I printed the frame too large. But it’s a start! In fact, it felt weirdly invigorating. If you like cool gadgets and gizmos, I highly recommend watching a 3D printer work in real time; It’s absolutely fascinating. A bit of tweaking and a few days later, I printed my next rendition, this time with a correctly sized frame:

Things were going well! I posted this in a discord server, and a few people were quick to ask “why didn’t you just make a snap-fit piece?”; and with some help from an online friend who knows Blender, they edited my model to integrate a snap-fit frame, saving me money on the originally planned magnets.

Things were going well! The next step was to make about 20 more, each with different spike values. Unfortunately though, Tinkercad wasn’t well-suited for such a project. I briefly tried to teach myself Blender and Blockbench, but gave up quickly. I had hit a roadblock, and on top of that, I got busy with other classes and began to stagnate.

A few weeks later, Professor Ames helped me get the ball rolling again during class. I was busy worrying about the weight or thickness of my piece, and stressed about the process of finishing the game. Ames took my model, shrunk it, filled the bed with copies, and printed 16 tiny prototype pieces. I was honestly confused and reluctant, but I let him do his thing; and in a few hours, they were done:

By printing these, Professor Ames was finally (better late than never) help me understand the importance of looking past aesthetic and focusing on mechanics when in the designing stage. This was eye-opening for me, and unfortunately I cannot effectively communicate the impact at 3am.

With newfound motivation, I jumped in a call with another (different) online friend. He works full-time as an engineer, so being proficient in Fusion360, he was able to help me significantly improve my model. He rounded the spikes and corners, aligned the frame with the piece, sloped the spikes, and so much more. My project was finally starting to feel like a real game.

Next, I needed to make 20 cards with different values, so that my friend could model them with the correct spike amounts. I created a spreadsheet with various figures within society to use for the roster. I needed to design their spike values based on how much ‘influence’ that person has in real life. For example, an Editor has more influence (spikes) than a Protester due to their power to alter the narrative.

A lot of this is going to be a retelling of a long interaction between myself and my friend.
He then sent me the models, and I begun printing them on 2 printers at a time.

While these were printing, I was in the lab working on the instruction manual for the game. I took a new approach, and rather than designing it in Microsoft Word like I did with my previous games (for some reason) – I designed it in Adobe Illustrator. I was able to convert a piece file into a topographic image, and use that to incorporate a visual informative guide. I had a ton of fun and was incredibly happy with the result.

I continued until I had all 20 pieces, and left campus at around 11:30pm that WEDNESDAY NIGHT. WHY DO I ALWAYS DO THIS TO MYSELF ITS 4AM CLASS IS IN 4 HOURS. ahem. anyways. Despite saying I learned about prioritizing mechanics over aesthetics, I didn’t – and then proceeded to work on spray painting my pieces until 2am.

Here’s one of my cats Charlie watching me (he’s very cute):

I can confidentially say this was one of the TWO times in my ENTIRE LIFE that I went to bed feeling excited for school; and the second playtest begun in class the next morning. I wasn’t able to create the character portraits at that time, so I temporarily used sticky notes to convey which figure each card represented. I also had to create a temporary playing board/grid out of cardboard, as players would often misperceive them as puzzle pieces and try to connect them.

We played a few rounds, and I gained a LOT of insight into my game. Most importantly though, I needed a way to hide cards from your opponent, or limit the players hand. Flipping them over didn’t work, since the spikes allowed for players to intentionally leave bad cards for the other player. They were too big and there were too many to hold all 9 in one hand, so we needed something else to hold or hide the cards. Professor Ames gave me the idea to create a machine of sorts which would conceal upcoming cards from the player. I went back to the drawing board, and came up with this:

This was shaping up to be one of my all-time favorite projects, but I still needed the actual characters for the cards. I measured my pieces, opened an Illustrator file, and started shamefully AI-generating portraits for them. I told it to generate characters in an Monopoly/Fallout76 art style, and I can’t say it didn’t deliver.

This stage of the design put the cards through many changes, mostly in name and style.

I printed 2 copies, laminated one, and then cut them out. They fit perfectly, and it was incredibly exciting to start seeing my game properly come to fruition.

Next was the card dispenser. Another call with my friend later, I had one designed; but it had one major problem: it took 18 hours to print.

While that was printing, I headed to class for the 3rd playtest.

Playtest 3 was the most popular (for lack of a better term) playtest. After watching several games unfold, it quickly became clear that the corrupt cards were incredibly overpowered, and desperately needed a nerf.

I had become fully invested, and at this point, I was ordering my own spools of textured filament online to use for my final print. But I needed to go check on my tower print.

It worked, but it also didn’t. On one hand, it printed with very few visual issues, which surprised me. Unfortunately, on the other hand, the measurements and model could’ve been better.

The tube was too wide, which allowed for cards to flip or rotate when they were dropped in. The ramp was not steep enough, meaning cards didn’t slide down to the output slot; which was too low, meaning cards got stuck. As much as I was dreading it, I needed to edit the model and print a new one.

And then I procrastinated and jeopardized the quality of my game. This was quite literally the last picture I took, because I never finished. I printed a few of the final pieces with a marble textured filament, and the frames with holographic filament. I started printing my new tower, which with some tweaking, I was able to shave the print time to 10 hours; except I started too late. I quite literally fumbled the bag, and I had no good excuse.

I learned A LOT from this project. I learned how to use a 3D printer, general maintenance as well as how to load/unload filament; I learned about models, their innerworkings, and several methods of saving time by cutting corners; I learned about the concept of tolerance/clearance, and I was reminded that millimeters exist; I used spray paint for the first time, and set a record for the longest I’ve ever stayed up for a school project; There was probably a lot more that I’m struggling to recall on 3 hours of sleep. I wish I could say this experience taught me not to procrastinate, but I can’t imagine myself ever changing.

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Late Week 7 Response Dillon DeSantis

What are the challenges a team faces when working on an educational game?
Designing an educational game involves balancing the goals of different experts. Game designers want fun and interactivity, pedagogy experts care about effective learning, and content experts focus on accuracy. Each discipline speaks its own “language,” which makes collaboration difficult. The biggest challenge is finding a way to meet all these needs without compromising the game’s overall quality or purpose.

In the case study, team members vetoed each other’s game ideas. What were the scientist’s, pedagogy expert’s, and designer’s issues?
The scientist rejected game ideas that didn’t align with real science or used inaccurate information. The pedagogy expert opposed game levels that could block students from accessing educational content and later criticized replayability when it led to uneven learning experiences. Meanwhile, the game designer dismissed ideas from the other two because they didn’t feel like “real games” or lacked compelling gameplay. Each expert was stuck in their own perspective, making it hard to agree on a shared direction.

What did the team learn from playtesting their prototypes?
Playtesting showed that some of their assumptions didn’t match how players actually behaved, as well as led to major changes in the game’s structure, pacing, and content delivery. For example, players weren’t as interested in reading detailed content as expected, so the team simplified and made it more visible. It also helped them see how different player types responded to the game, especially the differences in how male and female players engaged with it.

How does playtesting resolve conflicts among team members?
Playtesting moves the conversation away from theory and into real evidence. Instead of arguing about what might or could work, the team can observe what actually happens when people play the game. It forces team members to confront whether their ideas hold up in practice, and this helps everyone make decisions based on what improves the player’s experience. Ultimately, it shifts focus from individual opinions to shared outcomes.

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Late Week 4 Response | Dillon DeSantis

  • What learning games have you played? Can you categorize them by the theory of learning types: behaviorism, constructivism, or social nature? If you played more than one, which was the most effective?
    The only real learning game I played was Kahoot!, which would fall under social learning since it relies on competition and interaction. It works because it makes even boring topics feel more engaging, but it’s not exactly deep learning—it’s more about quick recall than actually understanding a subject.
  • Is gamification bullshit? What is Ian Bogost’s argument and do you agree? Where have you encountered it outside of class and what was your experience?
    Bogost argues that gamification is just a shallow way to keep people engaged without actually making something fun. I mostly agree—things like streaks, points, and badges are everywhere, from fitness apps to customer rewards programs, but they don’t actually make something better, just more addictive. Duolingo is a good example—at some point, keeping the streak matters more than actually learning.
  • What is a serious game and why aren’t they chocolate-covered broccoli?
    Serious games are meant to teach something, but they actually try to be fun rather than just disguising education as a game. “Chocolate-covered broccoli” refers to games that force learning into a boring experience and hope people won’t notice. Good serious games, like Papers, Please, make the learning part of the actual gameplay instead of something tacked on.
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Late Week 3 Response | Dillon DeSantis

  • How does Mary Flanagan’s definition of game differ from Chris Crawford’s as well as the definition crafted by Katie Salen and Eric Zimmerman?
    Flanagan takes a broader approach to defining games, looking at their cultural and political impact rather than just their mechanics. Crawford is more focused on interactivity and conflict, while Salen and Zimmerman stick to a structured definition based on rules and formal systems. Flanagan’s take stands out because she sees games as a way to challenge and critique society, not just something people play for fun.
  • What is an activist game?
    An activist game is a game designed to push for social or political change. Instead of just entertaining players, these games try to raise awareness, challenge norms, or make a statement about real-world issues. Some are subtle, while others are pretty direct in their messaging, but they all use gameplay as a way to make people think.
  • Go and Chess are examples of games that feature “perfect information,” what other games share that feature?
    Other perfect information games would be things like checkers, tic-tac-toe, connect four, and shogi. In all of these, every player has full knowledge of the game state at all times—there’s nothing hidden, like dice rolls or secret cards, so every move is purely strategic.
  • Why might chance or gambling games hold spiritual or religious importance to ancient cultures?
    A lot of ancient cultures saw games of chance as more than just games—they were ways to interpret fate, communicate with gods, or determine outcomes that people believed weren’t entirely in their control. Rolling dice, drawing lots, or flipping objects was sometimes seen as a way to let a higher power make a decision rather than leaving it up to people.
  • When was the earliest battle between government/religious groups and games? What modern games can you think of that have been banned or demonized?
    One of the earliest examples was in medieval Europe, when the Catholic Church banned dice games because they were associated with gambling and immorality. In modern times, games like Grand Theft Auto, Mortal Kombat, and Doom have faced bans or controversy for their violence, while Dungeons & Dragons was once caught up in a moral panic over supposed ties to the occult.
  • What is a fox game, and what would be a modern example?
    Fox games are strategy games where one strong piece (the fox) is up against multiple weaker pieces trying to trap it. A modern example would be asymmetrical multiplayer games like Dead by Daylight, where one killer faces off against multiple survivors who have to work together to win.
  • What was the purpose or intent of the game: Mansion of Happiness?
    It was basically a morality board game from the 1800s that tried to teach Christian values. Players moved through a life path where they were rewarded for virtues like honesty and punished for vices like laziness or greed. It was more about reinforcing religious lessons than just playing for fun.
  • Why do artists from the Fluxus and Surrealist movements play games? Why did Surrealists believe games might help everyone?
    They saw games as a way to break away from structured, logical thinking and encourage creativity. Surrealists in particular believed that playing games could help people unlock their subconscious and think in more imaginative ways, instead of being stuck in rigid patterns of thought.
  • Changes in what can signal profound changes in games? How were pinball games reskinned during WW2?
    Theming and mechanics often reflect bigger shifts in society. During WWII, pinball games were reskinned to feature patriotic and military themes, turning them into something that supported the war effort rather than just being seen as entertainment.
  • What statements did Fluxus artists make by reskinning games like Monopoly and Ping Pong?
    By changing the rules and themes of well-known games, they turned them into statements about capitalism, competition, and control. Reskinning Monopoly could be a way of criticizing economic inequality, while modifying Ping Pong could be a way of playing with ideas of cooperation, absurdity, or randomness.
  • How are artists like Lilian Ball, Marcel Duchamp, Takako Saito, Yoko Ono, Gabriel Orozco, and Ruth Catlow using war games?
    They take traditional war games and subvert them to critique militarism, power structures, or strategic thinking in general. Instead of reinforcing the usual ideas of war and competition, their versions often challenge the way people view conflict and control.
  • Why is it important for players to have agency in a critical or serious game?
    If a game is trying to make a point, the player actually needs to feel like their actions matter. Without agency, the game just becomes a passive experience, and the message loses impact. Letting players make meaningful choices makes the experience more personal and makes them engage with the game’s ideas more deeply.
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Late Week 2 Response | Dillon DeSantis

  • what advergames have you played? did they influence a purchase?
    I sat here stumped for a stupid amount of time, convinced I had never played any advergames as a kid (at least, not that I could remember). But after some more research, I realized the LEGO games technically count, since they tie directly to toy sales. I played my share of them — LEGO Batman, LEGO Indiana Jones, LEGO Star Wars, LEGO Harry Potter, and LEGO Pirates of the Caribbean — but I can’t say they directly influenced a purchase. Eight-year-old me was already obsessed with LEGO and video games, so I didn’t need any extra convincing, but the games definitely expanded my awareness of just how many different LEGO sets existed. I probably wouldn’t have cared about Indiana Jones or Harry Potter as much if I hadn’t been exposed to them through these games, even if I didn’t immediately go out and buy the sets.
  • why do the advergames tooth protector and escape work? What makes chase the chuckwagon and shark bait fail?
    Tooth Protector and Escape work because their gameplay actually reinforces the product they’re advertising. Tooth Protector makes sense as an advergame because the whole goal is to defend teeth from cavity-causing enemies, directly tying into the importance of dental hygiene. Escape does something similar, where the gameplay reflects the brand’s messaging in a way that doesn’t feel completely disconnected. On the other hand, Chase the Chuckwagon and Shark Bait fail because they don’t really connect their gameplay to their brands in any meaningful way. Chase the Chuckwagon is just a weird, clunky maze game that barely relates to dog food, and Shark Bait feels like a generic arcade game that happens to have a brand slapped onto it. Neither of them give players a reason to care about the product they’re supposedly advertising.
  • what does volvo’s drive for life accomplish? 
    It reinforces Volvo’s reputation for safety by making players engage with defensive driving and accident prevention. Instead of just showcasing cars, it turns road safety into an interactive experience, making Volvo’s brand message feel more natural and memorable. The game isn’t just an advertisement—it actively teaches players skills that align with Volvo’s identity, making the branding feel more meaningful.
  • what company used in-advergame advertising?
    Epic Games (the studio behind Fortnite) is the perfect example of in-advergame advertising because of its countless brand collaborations across every industry imaginable. You can’t unlink your favorite franchise from Fortnite—Nike, Marvel, Star Wars, DC, Ferrari, Lamborghini, Balenciaga, Air Jordan, Naruto, Dragon Ball, Stranger Things, Travis Scott, Ariana Grande, Snoop Dogg, Eminem, Metallica, MrBeast, The Kid LAROI, The Walking Dead, Resident Evil, Teenage Mutant Ninja Turtles, Terminator, Halo, God of War, John Wick, Ghostbusters, Star Trek, and even Patrick Mahomes all exist in the same game. This works because Fortnite makes advertising feel like content by turning the brand collaborations into playable skins, in-game events, and sometimes entire mechanics that become part of the player’s experience.
  • what was one if the first home-console advergames and what beverage was it for? 
    Kool-Aid Man (1983) for the Atari was one of the earliest home-console advergames, promoting Kool-Aid by having players stop “Thirsties” from draining a pool. The game reinforced the brand’s energetic image and made its mascot feel interactive rather than just a commercial character.
  • what makes the toilet training game sophisticated and do you agree?
    Graphico’s toilet training game could be considered sophisticated because it translates a real-life challenge into gameplay mechanics, making the player’s actions directly tied to its objective. Bogost argues that this makes it an effective example of persuasive game design; I disagree, and would argue the game assumes a universal experience that isn’t actually universal. It only works for people who urinate standing up, making it feel unintentionally exclusionary. While the concept is clever, its supposed sophistication falls apart when you realize how narrow its perspective is.
  • what do advergames and anti-advergames have in common, and what principles do they share?
    Both game formats are designed to persuade, just in opposite directions. Advergames exist to reinforce a brand’s message in a positive light, while anti-advergames are meant to criticize or deconstruct corporate influence. Despite this, they share the same core principles: both use interactivity to engage players, both rely on mechanics that reflect their message, and both try to make the player feel something about the brand in question. The difference is whether that feeling is meant to be admiration or skepticism.
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Week 1 Response | Dill DeSantis

Game Thoughts:

  • Painstation: The concept is absolutely hilarious, but it’s honestly hard to say if I’d actually go through with playing it; On one hand, I don’t like being hurt – but on the other hand, it would be an extremely unique gaming experience.
  • Getting Over It: I’ve had several opportunities to play this game, but i have deliberately chosen not to because I already know I wouldn’t have the patience for it. I don’t dislike it, I think it’s a good looking and well-designed game, but it’s simply not a game I want to play; it seems like you can either love or hate it, there’s no middle ground.
  • Townscaper: I was pleasantly surprised by this game; the quality, sound design, and visuals were above what I expected from the pictures. I can certainly see the appeal, but I cannot imagine that I would stick with for long, as the options seem quite limited.

Questions:

  • Ian Bogost critiques social games for their manipulative design. He argues that they reduce friendships to mere in-game assets, not genuine connections. Developers exploit this by integrating viral mechanics that encourage players to recruit others, not for fun but for engagement metrics. He also highlights how these games rely on compulsive loops, keeping players hooked with minimal effort yet endless repetition. The most concerning issue, however, is the sheer amount of wasted time—players may spend hours completing trivial tasks, reinforcing an artificial sense of progress.
  • Social games like FarmVille turn friendships into transactional relationships. Instead of fostering genuine social interaction, these games treat friends as resources to be used for in-game progression. Players are encouraged to “invite” others to perform tasks like watering crops or feeding animals, making progress feel dependent on social obligation rather than personal strategy. While this mechanic can create a sense of community, it ultimately prioritizes engagement over meaningful social connections.
  • These games seep into daily life, constantly demanding attention even when not actively playing. Push notifications remind players to check in, fostering a sense of urgency to return. Additionally, time-based mechanics—such as waiting for crops to grow or buildings to finish—keep players tethered, stretching gameplay across hours or even days. Many games capitalize on this by offering microtransactions to speed up progress, effectively monetizing patience and further reinforcing time-wasting mechanics.
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Week 1 Questions Dillon

In your opinion, what should every game have? Why do you like your favorite game?

  • I believe the most important element a game could have is replay-ability. If you are able to play the game, enjoy it, and then come back to it later and still enjoy it just as much as you did the first time — that’s a well-designed game. Replay-ability is important because, without it, the game would lose momentum after the first few months following release; the longer a game can remain relevant the better.
  • My all-time favorite game is and has always been Minecraft; I started playing when I was a young child and have watched the game evolve over the last 15 years while it simultaneously dominated the gaming industry. My favorite part about Minecraft is that it gives the player the ability to, quite literally, do WHATEVER they want. Of course, it’s an imagination-based sandbox game with random finite generation that ensures every world you play is different from the last, but beyond the confines of the base-game, Minecraft allows (and even encourages) their players to mod and customize their game however they please. CurseForge, the most popular website for the Minecraft modding community, reached 100,000 unique player-created mods in 2022. I am personally a member of the that community and I enjoy using Minecraft as a creative outlet where I can develop new features and mechanics for my community server.

List the games you have played or currently played.

  • Currently Play: Creativity: Minecraft, Terraria; Shooters: Tom Clancy’s Rainbow Six Siege, Fortnite Battle Royale, Platformers: Ultimate Chicken Horse; Other:
  • Have Played: Creativity: Stardew Valley, The Sims, Roblox; Shooters: Destiny, Destiny 2, Overwatch 1, Paladins, Apex Legends, Fortnite Save the World, Darwin Project, Ironsight, Splitgate; Platformers: Hollow Knight, Little Nightmares, Little Nightmares 2, Portal, Portal 2; Other: Stranded Deep, Skylanders Series, Rayman Legends, Firewatch,

Can you apply the three-act structure to your favorite game? What is its pacing and how long do you find yourself in each act?

  • Minecraft’s standard Survival mode could be broken into 3 acts.
    Act 1: Early-Game
    The player begins by spawning in a new world with absolutely nothing in their inventory. Players are supposed to secure shelter and protection against the enemies that come out at night using accessible resources such as wood and stone to craft gear. Players will typically start an early-game food source, like an animal pen or a crop farm. The early-game act takes up a majority of Minecraft’s gameplay; it is the slowest paced act of the three due to limitations on your character like weak tools and armor. In a typical playthrough, the first act usually takes me a few weeks, but that’s due to my methodical playstyle. If you were to focus on completing the game in one sitting, I would estimate around 5-8 hours for extensive completion.
    Act 2: Mid-Game
    Once the player has finished acquiring basic tools, armor, and a base of operations, they will begin mining and adventuring for resources. Players must descend into the dangerous caves below them in search of non-renewable resources such as iron, gold, emeralds, and diamonds, all used to further improve their gear. They will encounter hostile monsters and natural hazards like lava that will impede their progress. Players will want to acquire obsidian for an enchanting table to enhance their tools’ stats and a nether portal to travel between dimensions. The mid-game act takes up the second-most amount of time as it has the most amount of different objectives, each necessary for the end-game preparation. In my personal playthroughs, I spend the most amount of time (typically a month or more) in the second act because it is my favorite. If you knew what you were doing and were to focus on completing this act in one sitting, I would estimate around 4-7 hours.
    Act 3: End-Game
    After the player has acquired powerful enchanted weapons and armor, their next step is locating the Stronghold, home of the End Portal. Players will hunt rare monsters to acquire Eyes of Ender, a necessary item for locating and activating the portal. Once fully prepared, the player will cross dimensions to The End where they will battle the final boss of Minecraft, the Ender Dragon who, once defeated, rolls the game credits; however many will argue that this is not the end of Minecraft, as there is a plethora of content still available and being released every year for players to enjoy. For me, I savor this act. The end-game act can take between 2-3 hours depending on whether or not you want to proceed with your playthrough following the Ender Dragon, and I always choose to continue.

When coming up with ideas where do you find your start, with the metaphor or the mechanics?

  • When I am drafting ideas for my custom Minecraft additions, I always start with mechanics. I will factor in things like “how will this work”, “how is this acquired”, and “how would i create this with code?”. Once the mechanics are fleshed out and they function, then I go back and work on the aesthetics.

Over the course of this semester, who would you like to collaborate with and why?

  • I’m open to collaborating with anybody.
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Dillon DeSantis Game Design Studio 1

Game: Fluxx

  1. What it fun?
    It was okay. It has potential to be a really fun game if I played with my friends or family or if every player knew how to play without confusion.
  2. What was the interaction?
    A lot of confusion; Fluxx is clearly a gimmick and mechanic-based game, and when those gimmicks and mechanics are confusing, it makes it difficult to play.
  3. How long did it take to play?
    About 30 minutes/the rest of class.
  4. Would you play again?
    I would try it again under different circumstances; I would learn the rules in-depth and focus on playing the game with my full attention.

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Light Project Dillon

My initial thought upon viewing the inside of the dome was to create an artificial experience of something natural – something you don’t see every day. I eventually settled on a roofed-forest because I wanted to see how it would feel being covered with dark colors with only beams of light colors shining through. I never made it to the room to test it out, so unfortunately I have no idea if this actually works, but I am looking forward to trying it out.