[Con]Artist Game Design Document Ryan Murdoch Louise Dolan Glasgow School of Art School of Simulation and Visualisation Serious Game Research and Design MSc Serious Games and Virtual Reality
1 Triadic Game Design 1.1 Reality Domain The chosen domain was that of Modern Art, with particular focus on public interaction, understanding and interpretation of Modern Art. Problem We observed that Modern Art seems to be held in less of a respect than more classical work. Modern Art is sometimes considered ‘pretentious’ or lacking true skill or artistic ability. This problem may come from lack of accessible exhibits or events with which people can familiarize themselves with Modern Art and more importantly its meaning. With a greater education and interaction with Modern Art perhaps it will be seen as truly meaningful and not purely artistic and aesthetic. A game could present a casual, engaging environment in which people could interact with Modern Art in new ways. Expanding knowledge and understanding and addressing this problem. Factors Critical
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Modern Artists and their work may lack accessibility.
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Modern Art movements are strongly focused on meaning and interpretation, without support interpretation can often form a barrier to engaging with Modern Art. Environmental
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Effects of geography, locations of Modern Art and Modern Art Exhibits.
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Perceived pretension, some consider Modern Art unappealing.
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Lack of representation in education, where classical art and techniques are more prevalent.
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Sociological backgrounds.
Relationships A diagram showing the relationships between critical and environmental factors.
Process The process of the intervention and its perceived effect on the problem and relating factors.
1.2 Meaning Value Educating and engaging users on and with Modern Art and its interpretation. Purpose An educational board game to engage users with Modern Art and its meaning and possible interpretations. With a central value on learning to interpret Modern Art’s meaning and learning to recognize movements and styles of Modern Art. All within a comfortable, engaging, fun, social learning environment. Creating a fun environment in
attempt to disarm and overcome pretensions regarding Modern Art. Providing a structured, challenging educational game that can be used and supported in an education environment, as well as recreationally. Strategy Focus will be given to developing a game based on and supporting existing theories of learning. Including the facilitation of Deep Learning, Constructivist learning theory, Pedagogical patterns and James Paul Gee’s Learning Principles. Player types (Lazzaro, Fullerton, Bartle) and motivation will be taken into consideration. Supporting learning and gaming analytics will be explored, as well as providing needed materials to support the game in an education environment. Games that influenced us include Timeline, a game with a simplistic card-based gameplay fosters engaging and effective learning. Outcomes
Key Learning Outcomes: -
Familiarization with modern art. Develop an understanding of themes, meanings and expression in modern art. Familiarization with four modern art movements: Dadaism, Cubism, Pop Art and Expressionism. Understanding of modern art in terms of nationality and geography.
2 Target Audience One of the main objectives of ConArtist was to design a highly accessible game, something that both young people and adults of any learning level could enjoy and benefit from, no matter their previous experience with modern art or board games. Whilst our game aims to appeal to a very broad audience, ConArtist would be most beneficial to high school students of any level. For younger students, the game can introduce the concept of critical evaluation of art and help develop creative thinking. For students studying high school Art and Design at a more advance level, the game can help develop and reinforce social and historical knowledge in regards to modern art, identifying patterns and features of modern art movements and advance critical evaluation further still. The game could prove particularly useful to students in preparation for Art and Design exams at a National or Higher level. With this in mind, another target audience to consider would be teachers, who would find the game a useful tool to incorporate into their curriculum delivery.
3 Definition 3.1 Main Story ConArtist does not follow a set storyline and does not rely on narrative for immersion as the players play multiple roles within the abstract setting of the game. A con artist must convince potential buyers to purchase an artwork he claims as his own. He does this by stating where the artwork was created, which movement it was part of, and by describing the themes and motivations behind the piece by referring to visual aspects of the artwork. The buyers must choose to buy which artwork that had the most convincing pitch.
3.2 Game Environment ConArtist’s gameplay relies much more on the words and actions of the player than the physical environment they are in. In fact position of a player’s marker does not determine their progress at all. Position only relates to one aspect of gameplay; as a mechanic to offer visual contextualisation to the player when stating their artwork’s country of origin, described in further detail in section 5.2. As such, the game board is a stylized world map, highlighting only the countries that the game will refer to. 3.3 Content As stated previously, every measure was taken to ensure our game was accessible. Therefore, the content of our game is purposefully simplistic in order to be inclusive of people who have not had much experience with board games or those who find typical board game concepts challenging to grasp and consequently demotivating. Gameplay: Artwork cards are dealt to each player. One player chooses an artwork card from their gallery then decides where they think it is from and places their marker on the subsequent country on the map. They then state which Movement the artwork is from by selecting one of four movements displayed on a dial, then give a one-minute pitch on the artwork’s themes and motivations. Player to the left does the same. The remaining two players each give one money token to the player who was most convincing. Both players read the back of their card aloud to reveal if any of their answers were correct and receive one knowledge token for each (Artist/Movement/Country/Theme) answer. The turn then moves one place to the left, and the second player now repeats the process with the player to their left. Physical components: ● Artwork cards – one side displays a piece of modern art, the other displays facts about that artwork (Artist, Country of origin, art movement and themes/motivations) ● Gallery easel – to hold the player’s deck ● Display easel – to present the chosen artwork ● Money tokens – distributed to each player to award to other players, worth 1 point ● Knowledge point tokens – located on the map board, earned by giving correct statements, worth 2 points ● Map board – atlas highlighting relevant countries ● Movement wheel – displays 4 art movements to choose from ● Timer – to time each player’s one-minute pitch
3.4 Game Duration and Player Interaction Mode Turn: A single turn lasts roughly 2-3 minutes. In this time the player chooses their artwork, places their marker in the desired country on the map and turns the dial on the movement wheel to their chosen art movement. Then they proceed to their one-minute pitch, which is measured by a sand timer. Round: A round consists of two player turns, time for the remaining party to decide which player to award points to and time for players to reveal the information on the back of their cards. Altogether this may last 7-9 minutes. Whilst this may seem slightly long, it is imperative to dedicate enough time to the proteĂŠ geĂŠ effect learning method, one of the key learning methods utilized in the game, wherein the player teaches the rest of the group what they have learned from the card. Game: In a game of 4 players with two artwork cards distributed to each, a game lasts approximately 30-40 minutes. In an educational setting, a teacher can manipulate the duration to suit the players by manipulating the distribution of the deck.
4 Premise and Story world 4.1 Premise The original premise of our game was, in essence, giving players an opportunity to be creative in any way, and building a game to facilitate them in doing so. This remained one of the core values of our game whilst it journeyed through development and more learning outcomes were added as being offered the chance to practice some creative flexibility helps break down the detachment some may feel towards the practice of art in general. 4.2 Learning Context All game mechanics utilised in the design of our game are to achieve two main learning outcomes: 1. Practise creative thinking and critical evaluation of visual art. 2. Build knowledge of Modern Art Movements.
The players must get creative in their pitches to gain points, and with enough practise this creative mind set will become more familiar to players, which the game facilitates with the repetition of this game mechanic. This process also allows for the players to practice critical evaluation, by having to use visual cues from the artwork to aid their pitch. As previously mentioned, our game also utilizes the proteé geé effect to achieve it’s the learning outcomes. The players gain knowledge by reading the backs of their cards and reinforce what they have learned by teaching the information they to the rest of the party. This is further reinforced by the players being encouraged to listen to other player’s turns to help identify clues that will inform their own answers, for example, the typical aesthetics common themes of each movement. 4.3 Story world There is little plot to ConArtist as narrative was not one of the main focuses of our game. As such, the story world is very abstract with fluid reasoning. The game exists in a world where the player currently in the ‘Con Artist’ role is trying to convince the other players they are several different artists throughout the game. Having the player take on multiple roles (both the ‘Con Artist’ and the ‘Buyer’) adds to this fluidity of the scene, allowing equal attention to be given to both roles and therefore both learning outcomes.
5 Challenges 5.1 Challenging Activities That Require Skills Whilst having some previous knowledge of Modern Artists, artworks or movements would be slightly advantageous when playing ConArtist, it is not essential to win the game as the player can pick up knowledge by observing other players’ turns as the game progresses. For example, if a player finds some visual similarities in the artwork on their card with that of another player’s, they can make a slightly more educated guess of their own answers by recalling the other player’s answers with regard to movement or even themes. 5.2 Merging of Action and Awareness As previously stated, physical movement and position of a player’s marker does not relate to how well a player is doing in the game; however the player’s physical actions can play a relatively large role in their learning with regards to their creative thinking. The act of the player turning their easel to face the rest of the players creates a temporary ‘performer/audience’ relationship which aids the roleplay aspect of the game.
5.3 Clear Goals and Feedback From the player’s point of view, the goal of the game is fairly simple: to win as many points as possible during their turn which they can do two ways; by stating correct answers (worth slightly more) or by impressing the others during their pitch (worth slightly less). The two ways in which you can achieve the one goal directly relate to the two main learning outcomes our game addresses. There is also an element of choice in the game, however, these choices do bring the player closer to their own goal, rather, the choices directly relate to maintaining the player’s focus throughout the game and providing players with immediate discernible feedback. When the other players decide who they award their creativity tokens to, they will say the reasons behind this choice, which provides the players who just pitched feedback on how well they played. 5.4 Concentration on the Task at Hand Players must interact with each other during every single player’s turn, either by competing against each other or by judging, and the game is designed so that paying attention to other player’s turns is also beneficial to scoring more points. Additionally, the design of the turns allows for a safe learning environment with little fear of failure; if a player does not state any correct answers, there is still opportunity to win points though their creative pitch. 5.5 Paradox of Control in the Game System Play session feedback highlighted that the improvisation aspect of player turns kept energy levels high and broke down any reservations or lack of confidence in their knowledge player’s initially held. This kept each turn of the game fresh and enjoyable, whilst allowing for more freedom to expand their creative thinking.
6 Gameplay Mechanics 1. Dealing the deck The first ‘atom’ of gameplay or mechanic is dealing the deck to the players. Two works of art are distributed to each player, giving the players their primary resource so the games main game loop can begin. The dealing of the cards is random and any familiarity with the work, movement or artist is there for by chance. With a larger number of cards than dealable cards in each deck this also allows an element of replayability to the game. This mechanic relates to the ‘Random’ mechanic brick. 2. Gallery Management Once the player has received their works of art, they are placed in the player’s ‘gallery’. This allows the player to familiarise themselves with the presented art and manage the order they
would like to present their art in. Gallery Management provides a small secondary mechanic that can give players more customization, it is also possible that gallery management could provide the player small strategic advantages. For example; if when it comes to a player's turn, other players have played ‘art works’ similar to one in that player’s gallery he/she may choose to play that card, with the hopes of correctly guessing the movement, location or meaning of the piece. This in turn corresponds to paying attention to the revealed information, observing and learning will help give the player an edge and effectively let them manage their gallery. 3.1. Choose Country After choosing their piece of art to present a player must place their game piece onto a highlighted country on the map. This represents where the player thinks the art originated from. As the game progresses players will benefit from basing their chosen location on revealed and gained knowledge. Attempting to successfully match the country allows the player agency in the game, it also encourages players to engage with the choices of other players and pay attention to the revealed fragmented information in an attempt to encourage deep learning. 3.2. Choose Movement Similar to choose country, the player must choose their movement by selecting it on the wheel. (One of four choices). Again allowing players to attempt to match art to movements and again encouraging them to analyse the presented information (both from themselves and other players) to improve their chances of success. In terms of time these mechanics are carried out relatively quickly, however correct matching is generously rewarded by the game. Therefore if the player is correct they are rewarded, but as the actual action of matching takes significantly less time and effort than the ‘pitch’ (mechanic 4) it is hoped that the player feels less disheartened when they fail to match correctly. 4. ‘The Pitch’ ‘The Pitch’ is the action of the player pitching their work of art to the ‘audience’. In their pitch they must discuss the underlying meaning and themes of ‘their’ work. (Encouraging interpretation of the original work). Their pitch is encouraged to be engaging, amusing and creative. The player pitches in competition to another player, the best ‘pitch’ is rewarded by the remaining two players when they issue the player they thought pitched best with their ‘coins’ (mechanic 5). Each pitch takes one minute and incorporates the main social mechanic and interaction in the game. Encouraging players to play together and communicate, allowing the players or their ‘artist’ personas to interact in a way that is fun and encourages a kind of cooperative learning and engagement with the game. Because the pitch works as the main ‘fun’ mechanic it is still rewarded by player coins, giving it value and rewarding players who quite simply have fun when conveying their interpretations of their chosen artwork. This reward not only encourages players to have fun and engage with their new identities within the game, it also consistently
rewards the players. The player therefore is still rewarded for playing, though not as well as if they had matched the artworks themes. By having the chance to be rewarded for just playing it is hoped that each turn had by the player will be less likely to feel like a ‘failure’. So as the pitch is still similar in regards to mechanics 3.1 and 3.2 in that it gets players to attempt to match the correct meaning and themes to the art. It also works as a creative and social mechanic to encourage fun, engagement and cooperative learning. Rewarding players and creating a focus on fun, rather than focusing player attention on their failures regarding the more learning aligned matching mechanics. 5. Choosing a Pitch Winner The two players not involved in pitching get to reward the pitching players as discussed above. Each player has one coin they may issue each turn or set of pitches. It is ultimately up to the player to select who they think did best and the players don’t need to issue their coins to the same player. This encourages social interaction and engagement in the game, encouraging them to listen carefully to the pitches that other players give. By allowing the player a form of agency this way in the game, it is a kind of intrinsic reward through meaningful interaction with the game that is not entirely dictated by the learning or the rules. Though the ‘select’ mechanic brick often refers to mouse clicks or gamepad interaction, the issuing of coins in a sense allows players to select and interact with the game world. 6. Revealing Information After each player has pitched the players reveal the back of their artwork cards. On the back of the cards is the information regarding the arts country of origin, movement, meanings and creator. This mechanic is important in allowing players to see if their early attempts to match where correct. The reading aloud of the information allows for a comparison to the original pitch and matches. Allowing all players to see the correct answers. This way each turn adds additional information fragments for players to construct their understanding. 7. Accessing Information Once cards have been revealed they stay in play, being added to the ‘Art Library’. This way players can interact with information as they need and when they choose to. This secondary mechanic allows the art card; which originally challenged the player to interpret it, to now work as a kind of ‘smart tool’ (as described by Gee). The card now acts as a tool by which players can access data ‘in time - on demand’ to better learn and improve understanding for their next turn.
7 Player Interaction Patterns
Turn-based Player Interaction Model The players plays against the game, but also against each other. In a given turn two players play against each other, while two others spectate and reward the competing players, in an interaction that is almost cooperative. As shown to the right. Game-based Player Interaction Model The game-based player interaction model shown to the left describes player interaction over the course of the game. The black lines indicate the social elements of interaction (pitching, rewarding, discussing) while the arrows show player vs player interaction which over the course of the game becomes more multilateral.
8 Gameplay Loops The general gameplay could be simplified to three game loops; two basic game loops embodied in a third larger and more general gameplay loop. The competitive gameplay loop carried out by the players competitively pitching progresses as ‘choose’ (the player choosing their work of art, mechanic 2), ‘move’ (moving their player piece and the movement wheel, mechanic 3.1 and 3.2) and ‘pitch’ (pitching their chosen work of art, mechanic 4). The second basic loop; the ‘consider’ loop refers to the actions of the non-competitive players. They listen to the pitches, consider a winner and reward a player as per mechanic 5. The third more encompassing gameplay loop follows the progression of the game in general. Starting with the compete loop (1). The consider loop (2) which is considered in a broader way in the macro gameplay loop, in that both it includes the gameloop 2 but also can refer to considering provided information (per mechanic 7). Finally the communicate part of the loop refers to the communication and discussion between players, the reveal of the information(mechanic 6) and more general social aspects of gameplay.
9 Resource Management The game provides players with a deck of artwork cards, and an initial cache of money tokens to manage. With the cards, the players will generally have some time to consider the visual aspects of their artwork in order to deliberate what they will mention in their pitch. The players get to choose the order in which they will present their artwork cards meaning they have the freedom to hold onto more difficult cards towards the end, after they have had time to observe other players and study the visual aspects of the artwork further. There is only one way in which money tokens can be used, to reward who the player believes gave the best pitch. However, leaving the choice to the player encourages all players to pay attention to the information being given to the group, which could facilitate the building of art movement knowledge for the group as a whole.
10 Player Objectives The player objective is simple, however it must be considered in relation to the games learning outcomes and player types and motivations. The ultimate objective of the game is to score the most points, however players can earn points in a variety of ways this gives the player choice in the game. Scoring Points -
Player coins are awarded to the best ‘pitch’, player coins are equal to one point. Knowledge points are rewarded for correctly matching information about the chosen art, knowledge points are worth two points.
Why Put the Focus On The Pitch? Putting a focus on the pitch element of gameplay in terms of time allows players to interact and establishes the more communicative, fun aspect of gameplay as the centre of the game. It could be argued that a serious game should focus more on the learning related mechanics. However this is part of an approach, as the focus of gameplay is on the pitch element and ultimately the only explicit motivation of the game is to score the most points. Therefore players aren't forced to learn but instead are encouraged to learn. More importantly players can use their own intrinsic motivations to decide how they want to approach and engage with both the learning and the game. The game still however heavily rewards players for learning, with points favouring those who learn as they progress. In this way players can each approach the game uniquely, with the predefined intention of winning but with an openness to the game that encourages implicit motivation. With every player enjoying playing and learning in different ways, putting the focus on fun allows the learning aspects to be guided by their own motivations and preferences. Scoring Points and Player Types and Motivations With the goal of scoring the most points different players may choose to achieve that goal in different ways, without being punished by the game. With Reference to Bartle’s Player Types -
Achievers: Beat the game! Learn about art and get the most points! Explorers: Engage with the different Art and interactions in the game, explore modern art. Socialisers: Communicate, interact, discuss, pitch and talk about modern art. Killers: Perhaps less relevant, though an element of competition could allow for ‘killer’ player types to impose on other players.
With Reference to Fullerton’s Ten Player Types -
Competitor: Compete with others! Collector: Collect the most coins to win. Joker: Have fun with your pitches.
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Storyteller: Create stories about your art. Performer: Get into character, perform in your pitches!
With Reference to Lazzaro’s Player Types -
Internal Experience key: Players who enjoy an emotional connection and involvement in the game, perhaps addressed by the element of roleplay. Hard Fun key: Players who enjoy a challenging game can use the ‘cryptic’ card deck. Easy Fun key: Players who enjoy an easier experience can use the the beginner card deck. Social Experience key: The game heavily encourages social and communicative activities.
With Reference to Yee’s Player Motivations -
Achievement Component: Develop a mastery of knowledge, beat the game and compete with others. Social Component: Socialize and learn and play with other players. Immersion Component: Discover art, organise your gallery and engage with roleplay and identity in the game.
With Reference to Self Determination Theory -
Competence: Master the game and learn about modern art. Relatedness: Interact with others and take on a new identity for relevant learning. Autonomy: Ability to play the game as they choose, based on their own motivations.
11 Conflict There is little conflict in ConArtist, which provides a learning environment that is both safe and provides freedom to fail with little negative impact. There are no external obstacles, simply the limits of the player’s own knowledge and imagination, both of which the game mechanics are designed to help develop. Whilst players are competing against each other each round, in the following rounds each player could be rewarding their previous opponent’s efforts, resulting in a competitive relationship that remains quite amicable. Arguably the strongest conflict that the game presents is the dilemma players face within when deciding who to award their money tokens.
12 Player Procedures Starting Action: -
One player deals the cards. Players organise their cards in their gallery. Players take their choice of props and choose an ‘artist’ name. All players choose the best ‘artist’ name and that player goes first.
Progression of Action: -
A player chooses a work of art. They place their player piece on the game map. They select a movement from the movement wheel. They have one minute to pitch their art. Spectating players reward pitching players. The art’s information is revealed and compared. Players are rewarded and the art gets placed in the Art Gallery.
Special Actions: -
Once art has been revealed and placed in the Art Gallery players may access it at any time.
Resolving Actions: -
Each player has pitched all of their works of art.
13 System Procedures -
Two cards are issued to each player. Four coins are issued to each player. Gallery Easels hold player art. Timer is used to time player. Game rewards players for correctly matching: movement, location and meaning/themes. Art is stored in the Art Library. When game is resolved scores are added up and a winner is announced.
14 Rules Rules Defining Objects -
A player chooses a player piece, this represents their chosen country of origin when presenting their art. Art cards are the main resource of the game, they display a piece of modern art and contain hidden information on that piece. A player may store their two pieces of art in their Gallery Easel. A player presents their art on the Display Easel when pitching. The game timer is used to time the pitch. Player coins are issued at the start of the game, each player may reward 1 after a set of pitches. Player coins are equal to one point. Knowledge points are issued to players who correctly match the arts, movement, meaning or place of origin. There are worth two points.
Rules Restricting Actions -
A player may only pitch a piece of art when it is their turn. A player can only pitch one piece of art at a time. The player must place their player piece on one country. The player must select a movement from the movement wheel. The player only has one timed minute to pitch. A player competes with the person to their left. Art information can only be revealed once the art has been pitched. The game continues to move one person to the left. Players may only reward one coin to one player after both pitches. Players cannot access the Art Library during a pitch. Players may not interrupt a pitch.
Rules Determining Effects Knowledge points are awarded after the art information has been revealed. One point is rewarded if: -
The nation of origin of the art was correct. The movement of the art was correct. Players agree that the pitch sufficiently touched on some of the themes, ideas or meaning of the art.
15 Heuristics Directional Heuristics -
The countries with coloured flags on the game map indicate possible countries of origin for the player’s art. The four options on the ‘Movement Wheel’ represent the four possible movements. The Art Library shows the available art resources the player can review. The player gallery displays the player's choices of art.
Positional Heuristics -
The player’s gallery displays their works of art. The players ‘player piece’ is used to show the players chosen country of origin. The wheel is used to display the players selected movement. The timer shows how long the player has left to pitch. The players received coins display their score in coins (1 point). The player’s knowledge tokens display their collected knowledge points (2 points).
16 User Interface Gallery easel and display easel
Knowledge Tokens
Player pieces
Money Tokens
Board
Movement Wheel
17 Game Assets/Art The overall aesthetic of the game is influenced by the interiors of traditional modern art museums found all over the world, particularly that of the Glasgow Gallery of Modern Art. Both the artwork cards and board map are minimalist with little use of colour. The card design in particular was used to emulate an artwork hanging on a plain white wall, with the information on the back influenced by the small information plaques that usually accompany gallery pieces. Even the use of basic, simplistic game pieces was considered in the minimalist design, as the overall aesthetic aids the role-play and improvisational aspect of the game. Glasgow Gallery of Modern Art:
(http://www.encorehospitalityservices.co.uk/Venues/Gallery-of-Modern-Art)
Card design:
18 Appendix [CON]Artist Rules and Handbook In [CON]Artist you are a phoney Artist, trying to convince your audience that your stolen art is ‘deep’ and ‘important’. Do your best to pitch your art to your audience and compete against other players! The player with the most convincing pitch will win, so try to be engaging, funny and most of all become the artist. The real winner will be the [CON]Artist who is able to understand and blag their way through Modern Art. Set Up 1. Two cards are issued to each player. 2. Four coins are issued to each player. 3. Gallery Easels hold player art. 4. Players choose their 'artist' names. 5. Group votes for best artist name and that player goes first, followed by the person on their left.
Player Turn 6. The player must place their player piece on one country. 7. The player must select a movement from the movement wheel. 8. A player may only pitch a piece of art when it is their turn. 9. A player can only pitch one piece of art at a time. 10. Timer is used to time players. 11. The second competing player then carries out 6 to 10. 12. The two other players in the 'audience' (not competing) may reward their favourite pitcher with 1 coin.
Reveal of Art 13. After both players have finished and the coins have been issued, each player reveals the back of their work of art aloud. 14. Knowledge points are awarded after the art information has been revealed. One point is rewarded if: - The nation of origin of the art was correct. - The movement of the art was correct.
- Players agree that the pitch sufficiently touched on some of the themes, ideas or meaning of the art. 15. The used 'work of art' card is played in the 'Art Library' 16. The game moves one position to the left. Rules Defining Objects A player chooses a player piece; this represents their chosen country of origin when presenting their art. Art cards are the main resource of the game; they display a piece of modern art and contain hidden information on that piece. A player may store their two pieces of art in their Gallery Easel. A player presents their art on the Display Easel when pitching. The game timer is used to time the pitch. Player coins are issued at the start of the game; each player may reward 1 after a set of pitches. Player coins are equal to one point. Knowledge points are issued to players who correctly match the arts, movement, meaning or place of origin. They are worth two points.
Rules Restricting Actions A player may only pitch a piece of art when it is their turn. A player can only pitch one piece of art at a time. The player must place their player piece on one country. The player must select a movement from the movement wheel. The player only has one timed minute to pitch. A player competes with the person to their left. Art information can only be revealed once the art has been pitched. The game continues to move one person to the left. Players may only reward one coin to one player after both pitches. Players cannot access the Art Library during a pitch. Players may not interrupt a pitch.
Rules Determining Effects Knowledge points are awarded after the art information has been revealed. One point is rewarded if: The nation of origin of the art was correct.
The movement of the art was correct. Players agree that the pitch sufficiently touched on some of the themes, ideas or meaning of the art.