{"id":4665,"date":"2015-05-27T16:23:08","date_gmt":"2015-05-27T16:23:08","guid":{"rendered":"https:\/\/faidutti.com\/blog\/?p=4665"},"modified":"2017-01-24T19:56:05","modified_gmt":"2017-01-24T19:56:05","slug":"warehouse-51-2","status":"publish","type":"post","link":"https:\/\/faidutti.com\/blog\/blog\/2015\/05\/27\/warehouse-51-2\/","title":{"rendered":"Warehouse 51"},"content":{"rendered":"

\"Warehouse<\/a><\/p>\n

Warehouse 51 est, apr\u00e8s Formula E, le deuxi\u00e8me jeu que je cosigne avec les auteurs br\u00e9siliens Andr\u00e9 Zatz et Sergio Halaban. Peu apr\u00e8s que nous avions trouv\u00e9 un \u00e9diteur pour notre course d’\u00e9l\u00e9phants, Sergio et Andr\u00e9 m’ont envoy\u00e9 par email un autre projet de jeu qui, apr\u00e8s avoir suscit\u00e9 quelque int\u00e9r\u00eat, n’avait pas trouv\u00e9 d’\u00e9diteur et leur semblait m\u00e9riter un regard neuf. Dans National Museum, les joueurs achetaient des objets d’art pour constituer des collections d’\u0153uvres d’origines diverses – grecque, romaine, moyenne ou extr\u00eame orientale. Le th\u00e8me, c’est le moins que l’on puisse dire, n’\u00e9tait gu\u00e8re original. Les ench\u00e8res non plus, mais j’ai toujours aim\u00e9 les jeux d’ench\u00e8res, genre auquel je m’\u00e9tais d\u00e9j\u00e0 essay\u00e9 avec Bruno Cathala, pour la Fi\u00e8vre de l’Or, puis avec Michael Schacht, pour Aux Pierres du Dragon. L’id\u00e9e d’en faire un autre ne me d\u00e9plaisait donc pas, m\u00eame si je savais que les \u00e9diteurs en voient beaucoup, d’autant qu’il y avait dans un coin des r\u00e8gles de National Museum une id\u00e9e qui m’amusait – certaines \u0153uvres \u00e9taient des faux, et seuls certains joueurs le savaient.<\/p>\n

Pour le reste, je ne me souviens plus gu\u00e8re des r\u00e8gles originelles de National Museum, car beaucoup a chang\u00e9. Ma premi\u00e8re id\u00e9e fut de donner \u00e0 certaines antiquit\u00e9s des pouvoirs sp\u00e9ciaux de mani\u00e8re \u00e0 rendre le jeu plus vari\u00e9 et plus dynamique. Cela n\u00e9cessita de nombreux tests, pas mal de r\u00e9glages, mais bon, les cartes action aux pouvoirs vari\u00e9s, c’est un peu ma sp\u00e9cialit\u00e9. Apr\u00e8s avoir essay\u00e9 de nombreux syst\u00e8mes d’ench\u00e8res, je proposais, pour faire circuler l’argent, que l’acqu\u00e9reur d’une \u0153uvre d’art la paie toujours \u00e0 son voisin de gauche. Ce n’est certes pas tr\u00e8s th\u00e9matique, mais cela donnait un rythme et une dynamique assez agr\u00e9ables et originaux. Le jeu avait pas mal chang\u00e9, il tenait dans une petite boite, et je l’apportais en 2013 \u00e0 Essen.<\/p>\n

\"Warehouse<\/a>

Une partie du prototype de National Museum.<\/p><\/div>\n

Les r\u00e9actions des \u00e9diteurs face au nouveau National Museum furent un peu toujours les m\u00eames – c’est un tr\u00e8s bon jeu, les m\u00e9canismes sont sympas, mais non, vraiment, d\u00e9sol\u00e9, on ne peut pas encore sortir un jeu avec de riches collectionneurs qui ach\u00e8tent des \u0153uvres d’ar, il y en a d\u00e9j\u00e0 des dizaines et \u00e7a ne fait r\u00eaver personne. Et c’est Rob Merickel, de Passport Games, qui a trouv\u00e9 le truc – on prend le jeu, mais on va remplacer momies, vases et Bouddhas par des objets mythologiques ou imaginaires, le Graal, l’Anneau Unique, la lampe d’Aladin…. L’id\u00e9e \u00e9tait g\u00e9niale, non seulement car on passait d’un th\u00e8me ressass\u00e9 et ennuyeux \u00e0 un th\u00e8me original et un peu geeky, mais aussi car cela donnait un sens aux effets sp\u00e9ciaux des cartes – s’il n’y a pas de raison pour qu\u2019un discobole ait des pouvoirs magiques, il serait \u00e9tonnant que le marteau de Thor n’en e\u00fbt pas. Je me suis donc attaqu\u00e9 \u00e0 la liste des objets, leur ai trouv\u00e9 \u00e0 chacun un pouvoir qui me semblait plus ou moins coh\u00e9rent, et nous e\u00fbmes bient\u00f4t un nouveau jeu, pour lequel j’imaginais une petite histoire, le gouvernement am\u00e9ricain en faillite contraint \u00e0 revendre les pr\u00e9cieux artefacts accumul\u00e9s durant les longues ann\u00e9es de puissance, de richesse et de gloire. Je proposai le nom de Warehouse 51 – l’entrep\u00f4t 51 – alors que ni moi, ni aucun des protagonistes de cette histoire, n’avait entendu parler de la s\u00e9rie Warehouse 13.<\/p>\n

Dans un premier temps, pour donner au jeu un aspect un peu multiculturel et universel, nous envisage\u00e2mes d\u2019avoir quatre collections correspondant aux mythes d\u2019Europe, du Moyen-Orient, de l\u2019Extr\u00eame-Orient et des deux Am\u00e9riques, mais il s\u2019av\u00e9ra vite que la majorit\u00e9 des objets plus ou moins connus de tous les joueurs \u00e9taient occidentaux, ce qui nous amena \u00e0 distinguer deux s\u00e9ries, celle des objets mythologiques et celle des objets issus de la litt\u00e9rature et du folklore. Une cinqui\u00e8me collection aurait \u00e9t\u00e9 de trop, et les mythes am\u00e9rindiens sont donc pass\u00e9s \u00e0 la trappe. Il y a pourtant sans doute un cr\u00e2ne de cristal cach\u00e9 quelque part dans l\u2019entrep\u00f4t 51\u2026<\/p>\n

\"warehouse<\/a><\/p>\n

Le nouveau th\u00e8me donnait \u00e0 ce jeu du souffle, de l\u2019humour et de la coh\u00e9rence. Et soudain nous y avons jou\u00e9 plus souvent, ce qui a amen\u00e9 de nouvelles id\u00e9es, de nouvelles cartes, de nouveaux r\u00e9glages – dont la possibilit\u00e9 de d\u00e9poser Graal ou Anneau chez un pr\u00eateur sur gage, une id\u00e9e de Philippe Nouhra. Pour des raisons \u00e9ditoriales que je n’ai pas encore totalement comprises, le jeu qui devait \u00eatre \u00e9dit\u00e9 par Passport et distribu\u00e9 en France par Funforge est finalement \u00e9dit\u00e9 par Funforge et distribu\u00e9 aux \u00c9tats-Unis par Passport. Il a fallu refaire tous les contrats mais, bon, \u00e7a a eu l’air d’arranger tout le monde.<\/p>\n

C’est au tout dernier moment, alors que l’illustrateur, Rafael Zanchetin, avait d\u00e9j\u00e0 commenc\u00e9 les dessins, que l’\u00e9diteur s’est inqui\u00e9t\u00e9 pour deux objets de la collection Litt\u00e9rature et L\u00e9gendes, l’Anneau Unique et le N\u00e9cronomicon, qui pouvaient poser des probl\u00e8mes de droits. On m’a donc demand\u00e9 en urgence de les remplacer par un autre anneau et un autre livre. Pour l’anneau, c’\u00e9tait facile, celui des Nibelungen faisait tout aussi bien l’affaire. Pour le livre, ce fut moins \u00e9vident, car il fallait un livre maudit\u00a0; nous avons finalement opt\u00e9 pour le Malleus Maleficarum, le marteau des sorci\u00e8res, ouvrage imprim\u00e9 dont il existe un certain nombre de copies, mais dont la sonorit\u00e9 inqui\u00e9tante \u00e9tait plus convaincante que celle du manuscrit de Voynich ou de la Tourbe des Philosophes. On dira que c\u2019est le manuscrit original du marteau, n\u00e9cessaire \u00e0 certains rituels.<\/p>\n

\"Warehouse<\/a>

Une partie test de Warehouse 51 avec Doria, de Funforge, et Sergio.<\/p><\/div>\n

Durant tout le travail sur Formula E, puis sur Warehouse 51, Sergio Halaban, Andr\u00e9 Zatz et moi ne nous sommes jamais rencontr\u00e9s, nous contentant d\u2019\u00e9changer des emails et de partager des fichiers, chacun testant les jeux de son c\u00f4t\u00e9, avec ses amis. Sergio est finalement venu en Europe en mai 2015 pour faire un petit tour des \u00e9diteurs du vieux continent et se joindre \u00e0 mes rencontres ludopathiques. Ce fut l’occasion de la premi\u00e8re partie de Warehouse 51 avec les illustrations d\u00e9finitives, qui r\u00e9unit les \u00e9diteurs fran\u00e7ais et am\u00e9ricain, et les auteurs fran\u00e7ais et br\u00e9siliens, et nous permit de mettre au clair quelques petits points de r\u00e8gles que nous ne jouions pas exactement de la m\u00eame mani\u00e8re.<\/p>\n

\"warehouse<\/a><\/p>\n

Rafael Zanchetin a fait sur les illustrations de Warehouse 51 un travail remarquable. Bien qu\u2019il ait dessin\u00e9 tous les objets en un temps record – l\u2019\u00e9diteur lui-m\u00eame ne s\u2019attendait pas vraiment \u00e0 ce que les d\u00e9lais annonc\u00e9s soient respect\u00e9s – il a pris le temps de chercher sur Internet des informations pr\u00e9cises sur chacun d\u2019entre eux, afin de tous les repr\u00e9senter fid\u00e8lement, et souvent avec humour. Le r\u00e9sultat est une collection que j\u2019aimerais bien avoir dans mon grenier.<\/p>\n

Warehouse 51<\/strong><\/span>
\n Un jeu de Bruno Faidutti, Sergio Halaban & Andre Zatz<\/span>
\nIllustr\u00e9 par Rafael Zanchetin<\/a>
\n3 \u00e0 5 joueurs\u00a0 – <\/span>40 minutes<\/span>
\n Publi\u00e9 par Funforge<\/a> (2015)
\nBoardgamegeek<\/a><\/span> \u00a0 Tric Trac<\/a>\u00a0 Ludovox<\/a><\/p>\n

\n

\"Warehouse<\/a><\/p>\n

Warehouse 51 is the second game I have co-designed with Brazilian game designers Andr\u00e9 Zatz and Sergio Halaban. The first was Formula E. Soon after we had found a publisher for our elephant race, Sergio and Andr\u00e9 sent me by email the rules for another game which, after having raised some interests here and there, had failed to find a publisher and, they thought, deserved a fresh look. In National Museum, the players were buying items to complete their collections of works from antique civilizations. The theme was blatantly unoriginal, and auction games are not really a novelty, but they are a genre I\u2019ve always enjoyed, and with which I had already toyed when designing Boomtown with Bruno Cathala, then Fist of Dragonstones with Michael Schacht. I knew publishers see dozens of auction games every year, but there was a fun idea in the rules of Sergio and Andr\u00e9\u2019s project that made me want to add my two cents to it \u2013 the fact that some items were counterfeited, and that only some players knew about it.<\/em><\/p>\n

I don\u2019t remember all the original rules of National Museum, but I know much has changed. My first idea was to give some items special \u201cmagic\u201d effects to make the game more varied and dynamic. Of course, this meant lots of tests and fine tuning, but action cards with special effects have long been my trademark. After trying several auction systems, and in order to have money flow faster, I suggested that the winner of an auction pays to his left neighbor. It\u2019s not very thematic, but it gives a nice rhythm and dynamic. The game had changed a lot, it fitted in a small box, so I took it with me at the 2013 Essen game fair.<\/em><\/p>\n

\"Une<\/a>

Playtesting the National Museum prototype<\/p><\/div>\n

Publishers\u2019 reactions to the new National Museum were more or less always the same \u2013 it\u2019s a fun and challenging game but, really, we can\u2019t publish one more game about auctioning antiquities, there are already dozens while nobody dreams of being a rich antique collector. Until we met Rob Merickel, of Passport Games, who said \u2013 we\u2019ll publish your game, but let\u2019s replace mummies, old vessels and Buddhas with mythical artifacts and relics – The Holy Grail, the One Ring, Aladdin\u2019s Lamp\u2026 This was a groundbreaking idea. It not only replaced a boring and old fashioned theme with an exciting and slightly geeky one, it also gave some consistency to the many special effects of the cards. There\u2019s no logical reason why a discobolus would have magical powers, but it would be surprising that the Hammer of Thor had none. I started to work on the items list, finding for most of them a more or less thematic effect, and soon we had what looked like a brand new game. I also imagined a fun storyline, with the US government going bankrupt and having under duress to sell the powerful artifacts accumulated during its many years of power, wealth and glory. I suggested the name Warehouse 51, when neither I nor, as far as I know, any one else involved in this game had ever heard so far of the Warehouse 13 TV series.<\/em><\/p>\n

We first wanted to make the game more or less multicultural, and decided that the four collections would be European, Middle Eastern, Far Eastern and Amerindian mythos, but it soon appeared that most of the items we were thinking about, and we were sure players will know, were of Western origin, so we decided to divide the Western category in two, Mythologies and Literature and Fantasy. Since five series were too many, the Amerindian collection was abandoned \u2013 but I\u2019m sure there\u2019s a crystal skull hidden somewhere in the depths of Warehouse 51.<\/em><\/p>\n

\"Warehouse<\/a><\/p>\n

The new setting gave the game scope, humor and consistency, and we started to play it again, and more often. This brought ideas for new cards, new effects, new rules \u2013 including the last major addition, by Philippe Nouhra of Funforge, the possibility to pawn relics from one\u2019s collection to get some money back. Then, for editorial reasons that I didn\u2019t completely understand, the game which was supposed to be published by Passport and distributed in France by Funforge was now published by FunForge and distributed in the US by Passport, and we had to make all the contracts again \u2013 but it looks like it suited everyone.<\/em><\/p>\n

The last change came after the illustrator, Rafael Zanchetin, had already started to work on the cards. The publisher got worried that two of the cards \u2013 the One Ring and the Necronomicon \u2013 could cause copyright issues, and asked us to replace them at once with another ring and another book. It was easy for the ring, the Niebling\u2019s one fitted perfectly. Surprisingly, there was no obvious choice for the book, because we needed a cursed one. We finally chose the Malleus Maleficarum, the Witches Hammer, a printed book of which there are many copies, because its name sounded better than the Voynich manuscript or the Turba Philosophorum. Let\u2019s say it\u2019s the original manuscript, which is required for some dark rituals.<\/em><\/p>\n

\"Warehouse<\/a>

Playtesting Warehouse 51 with Doria, of Funforge, and Sergio.<\/p><\/div>\n

While working on Formula E, and then on Warehouse 51, Sergio Halaban, Andr\u00e9 Zatz and I never actually met. We worked via email and shared files, each designer playtesting the game with his own group. Sergio finally decided to make a round trip of Europe, visiting many publishers and attending my ludopathic gathering. There French and US publishers, together with French and Brazilian designers, played the first game with the final graphics \u2013 and resolved some minor issues on rules that we had interpreted differently.<\/em><\/p>\n

\"warehouse<\/a><\/p>\n

I\u2019m really impressed by Rafael Zanchetin\u2019s graphics for Warehouse 51. They look gorgeous, and they were made at record speed, even when the artist obviously took the time to make some internet research on all items in order to picture them accurately and with some humor. I\u2019d love to have such a collection in my attic.<\/em><\/p>\n

Warehouse 51<\/strong><\/span>
\n A game by Bruno Faidutti, Sergio Halaban & Andre Zatz<\/span>
\nArt by Rafael Zanchetin<\/a>
\n3 to 5 players\u00a0 – <\/span>40 minutes<\/span>
\nPublished by Funforge<\/a> and Passport Games<\/a>\u00a0 (2015)
\nBoardgamegeek<\/a><\/span><\/em><\/p>\n

\"warehouse<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Warehouse 51 est, apr\u00e8s Formula E, le deuxi\u00e8me jeu que je cosigne avec les auteurs br\u00e9siliens Andr\u00e9 Zatz et Sergio Halaban. Peu apr\u00e8s que nous avions trouv\u00e9 un \u00e9diteur pour notre course d’\u00e9l\u00e9phants, Sergio et Andr\u00e9 m’ont envoy\u00e9 par email … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[296],"tags":[245,311,293,317,309,239,294],"class_list":["post-4665","post","type-post","status-publish","format-standard","hentry","category-warehouse-51","tag-andre-zatz","tag-encheres-auctions-and-bidding","tag-funforge","tag-passport-games","tag-rafael-zanchetin","tag-sergio-halaban","tag-warehouse-51"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p2HNOP-1df","_links":{"self":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/4665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/comments?post=4665"}],"version-history":[{"count":8,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/4665\/revisions"}],"predecessor-version":[{"id":6706,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/posts\/4665\/revisions\/6706"}],"wp:attachment":[{"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/media?parent=4665"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/categories?post=4665"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faidutti.com\/blog\/wp-json\/wp\/v2\/tags?post=4665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}