Balance: Balanced all of gameplay aspects, including creation of core engine; Coordinated internal and external playtesters to provide feedback in an organized, digestible manner.
Video Editing: Created over 100 mp4 clips utilizing custom SFX and video pulled from jJapanese ganbaride machines.
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Gameplay: Created card effects to match player expectation of theme in each release. Requested and retrieved proper artwork from licensor (Saban).
Art: Collaborated on card layouts and promotions with graphic design, legal, and licensor.
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Production: Created release schedules, tracked costs, and informed executives regularly on status of game. Synced with printing factory to check on shipment schedules, costs, and other needs.
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Released in 2013, the Power Rangers Action Card Game (PRACG) has 5 sets in total, spanning over 300 unique card designs. Cards are pulled from every Power Rangers TV series, from the originals to the latest releases.
The game is designed to be played with two players, has a target audience of ages 6-10, and aspects of the game can be modified with either the Power Rangers Gosei Morpher (toy product), or with a companion app. Cards were packaged with all toys released, and limited runs were made available at conventions, events, and McDonald's Happy Meals. |
Gameplay, Art, & Balance
Rulebook: Wrote rulebook and standardized oracle texting practices together with graphic designer. Due to requiring simplicity, this process actually took the longest when compared to other games I have worked on.
Simplistic Game Flow: In keeping in line with the target audience, the game was meant to be as simple as possible, revolving around two players rolling dice to determine their power, then adding to that power with a core mechanic. Additional complexity layer was added with a "advantage" mechanic via rock-paper-scissors. A player who wins a fight and also wins rock-paper-scissors deals double damage to the opponent. Set Theming: Each set typically had a new mechanic, sometimes involving keywords (bottom right of the card), or featured additional combat options for the player (upgrading the ranger). Communication: Constant communication was maintained with Saban throughout the process for approvals, artwork requests, and syncing for future releases and marketing pushes. Additionally, I synced with our toy division constantly for new marketing opportunities. Balance: Balancing of cards was extremely light, and care was taken to ensure that no one card was overly powerful for its cost. Due to the wildness of the engine, balance was not a gigantic concern, as the game generally balanced itself out. All card effects were boiled down to a timing and a twitter-sized explanation. If no effect was present, the box was either cut, or utilized in other ways (see left). |
Video Editing, Cross Promotion, & Approvals
Source: Initially I was given an ISO of a Japanese gambaride machine, as that was the only source available at the time. I managed to access the debug console, and find a listing for all movies that played. I recorded all of them, following a strict set of rules agreed upon between myself and R&D.
Editing: Editing involved re-adding new audio to the video gathered above, then adding VFX if necessary. Over 100 clips were generated in this manner, then utilized in the mobile app cross promotion. Cross Promotions: All toy packages had at least 1 card inside, with the morpher carrying 5 in total. In addition, the morpher could be used in lieu of a die to determine your card's power. I was constantly working with our tech department regarding the codes to trigger the correct sounds, as well as cross referencing this with Saban and legal for approvals. Approvals: Submitted approvals for artwork requests, naming conventions, and marketing verbiage where necessary. Printing: Reviewed proofs for fidelity of print quality compared to expectations and cost. |