How to Win as Richard III

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Richard III is one of the most difficult characters to play in Captain’s Gambit. Your opponents fear your immense power, and will turn against you if they catch even the smallest hint of your identity.

To maximize your odds of winning, you must prepare plans, contingencies and follow-ups so that you are never caught off-guard. Once you understand Richard III, you’ll find opportunities and leads in other captains as well - improving your mastery of Captain’s Gambit as a whole.


Overview

Your objective as Richard III is to be the last one alive. Your first tip is that you don’t have to necessarily be the one killing everyone else. Romeo and Juliet, for example, can make life much easier for you. But there will likely come a time you must dirty your own hands, which is where your Reveal ability comes in.

Before your action on your turn, you may Reveal to target all opponents with less health than your energy.

Deal 10 damage to each of them.

The power level of this Reveal ability depends entirely on your planning skill. Unlike a captain like Prospero, who must survive after Revealing, Richard III threatens to murder captains instantly.

That danger means that captains will turn aggressive much earlier against potential Richard players than they would against Prospero, even though their abilities look similar at first glance.

As such, it’s often a mistake to carry over your Prospero strategy when playing Richard III: the circumstances you seek have very few similarities aside from a moderate-high energy count.

So, today, we approach Richard III from the perspectives of rules, plans and contingency plans. This should provide you with a general heuristic that you can then deviate from during actual combat.


Cheat Sheet

RULES

  1. Richard III isn’t in the game.

  2. You don’t have a Reveal ability.

  3. You don’t have to kill four to kill three.

  4. Control the fear.

PLANS

  • Plan A: Let everyone else kill each other.

  • Plan B: Find an ally.

  • Plan C: Let the average health at the table drop.

  • Plan D: Find a chain.

  • Plan Z: Rush energy and Reveal.

CONTINGENCY PLANS

  • If Prospero is definitely in the game…

  • If someone is looking for allies…

  • If nobody wants to listen to reason…

  • If nobody wants to hurt each other…

  • If everyone thinks you’re Prospero…

  • If everyone thinks you’re Richard III…

  • If you’ve Revealed and the game isn’t over…


RULES

Richard III isn’t in the game.

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They fear you, and rightfully so. The consequence of Richard threatening unspeakable destruction is that early on, all captains will be on high alert for any individual who may pull that global-damage trigger. As long as the table keeps your Reveal effect in mind, you will lose every time.

Your only recourse is to make others either believe or hope that you are not in the game. The table does not need to be fully convinced; it is enough to maneuver captains into positions where they must say to themselves, “If Richard is in the game, I might lose. But if I don’t stop Lady Macbeth right now, I definitely lose.”

Give players hope that you’re not in the game by diminishing your threat - or by highlighting the threats of other captains. Incite such great fear that your opponents will find themselves facing better odds if they give you an opportunity than if they waste too many resources keeping a potential Richard III in line. Make them doubt Richard even exists.

You don’t have a Reveal ability.

Discipline yourself. You will not gain 11 energy and smite down seven combat dummies at once. Even random number generators would put an end to that plan, let alone a group of seasoned captains with enough ambition to tear the universe in half.

Your victory will be messy. It will not arrive the way you think it will, and often, it will not occur when you Reveal. Your victory comes from seeds of doubt, sparks of anger, flashes of greed, captains willfully ignoring you to focus on their narrow goals. Until you can move undetected, you must believe you have no Reveal.

It will come in the final act.

You don’t have to kill four to kill three.

Those who look for perfect moments only succeed at denying themselves imperfect victories. Respect the willpower of your opponents and recognize when this opportunity may be your last. Your goal is not to kill every captain at once - it is to be the last captain remaining. Focus on that goal and recognize the paths you may take to get there.

Control the fear.

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Your opponents are fearful, but this fear is malleable. Turn fear about Richard III into fear of Prospero, who doesn’t need to worry about health; or Lady Macbeth, who doesn’t need to worry about energy; or Portia, who can win with just a single unassuming Strike. In this galaxy, fear leads to violence, and death is your goal.

You must control fear as such that all preventative measures lead to your victory. Bruise all bloody captains in case they’re Lady Macbeth, then pivot to low-blood captains to prevent Portia from taking the snipe. Suddenly, you may start your next turn with 7 energy and a fortuitous Reveal in line.


PLANS

Plan A: Let everyone else kill each other.

Your first plan should never involve your own hands. You do not want attention, and often, captains will drop just fine without your intervention. Observe what captains may do to each other and see who can drop without your intervention.

This plan alone will never lead you to victory, obviously. But you have the luxury of setting perfect-world plans due to your layers of backups and contingencies.

Plan B: Find an ally.

Many captains seek security. Provide temporary comfort by asserting a complimentary identity. If Iago or Puck wants to win with Prospero, of course you can oblige. If Romeo believes you are Cordelia, help him eliminate one enemy at a time.

Energy and damage are both useful for your goal, so take on whichever dynamic makes you a welcome presence among others.

Plan B: Let the average health at the table drop.

If your autocharge only brings you to 6 or 7 energy, players may ask that you dissolve suspicion by spending your energy. However, they are unlikely to attack you simply for having 5 or 6 energy. Incite enough violence to bring the table’s health down and bring your Reveal plan closer to fruition.

Plan C: Find a chain.

How do you make Barrage deal 14 damage? Kill Cordelia’s mark.

When does your Reveal kill 3 captains, if only one captain has low health? When Juliet has 3 health and Romeo is marked by Hamlet.

You will not always find fortuitous lineups. However, a bound pair of dragons are always in the pool of potential captains, and often you must contend with Hamlet/Brutus/Cordelia as well.

Even if unlikely to occur, you would be foolish to keep your ears closed to hints regarding who is bound to another. It only takes one correct assumption to win you the game, as few captains can anticipate moments when your Reveal will murder otherwise healthy captains.

Plan Z: Rush energy and Reveal.

After every other moment has passed, you may find yourself rushing to hoard energy before your story ends in victory or defeat. This is not your ideal place to be, as all pretense about your identity will melt away. However, you must recognize these moments when you arrive, and have the ability to calculate just how much damage you can handle before you Reveal.

Remember that you do not spend energy to Reveal, and you still have your action for the turn when you do. Get comfortable slinging a series of final blows to close out the game after your Reveal.


CONTINGENCY PLANS

If Prospero is definitely in the game

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You will struggle to deflect away from energy-related fears if a clear Prospero is among you. You have two options: pretend to be Prospero’s ally to smoke him out of hiding, or use him as a shield to make your own energy count look harmless in comparison.

If someone is looking for allies

Be that ally. It is not terribly difficult to backstab others, and often, forming an alliance can grant you leverage to incite further violence at the table.

Be wary of outright declaring a false identity if you suspect that a real Puck, Iago or other devotee is at the table - unless you can spin your story to subtly convince them that you are simply borrowing that identity for a shared victory later.

If nobody wants to listen to reason

Ride the violence. Your own health does not affect the power of your Reveal. If getting hurt is what it takes to bring the mutual health down at the table, let it happen.

Sometimes it is best not to make warnings about captain identities; if captains seek violence for its own sake, or perhaps due to personal vendettas, bringing up identities may remind players to fear Richard III.

If nobody wants to hurt each other

This is one of the very few situations where gathering 10 (11 after autocharge) energy may actually be appropriate. More realistically, though, you may bring up the threat of Prospero and declare that all captains should bring each other’s health to 7 or lower. This would make your Reveal easier as you would then only need 7 (8) energy yourself.

If everyone thinks you’re Prospero

Prospero’s two strategies are to deflect from his identity or to gain support for his Reveal. Your advantage is that Prospero’s typical method of deflecting attention is to attack other captains. Bringing the total health pool low works well for your Reveal, so it is often easier to give up your energy climb until later if players begin to grow suspicious of you.

Another simple strategy is to invite some attacks, provided nobody suspects that you are Richard III halfway through a round of Strikes. Prospero can’t reveal at low health, but you can. If resting at 5 health is all it takes to make the table ignore you, take that opportunity.

Beware: if you are against others who have read this guide, you will need to escalate your tactics and consider other methods of deflection.

If everyone thinks you’re Richard III

De-escalate into a Prospero identity if possible, or perhaps a pacifist Puck, or even Imogen/Rosalind if you can act convincing enough. Captains will more readily accept an alternative identity than they will accept a flat denial.

This is often a case where you must give up social ground to survive for another round. You may need to mask yourself as a convincingly bad Prospero (for example, pretending to be too obvious about looking for allies) in order to avoid outright death. In these cases, you may need to accept that you can no longer gain energy without suspicion.

If you’ve Revealed and the game isn’t over

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First, recognize that this will be the case more often than not. Prepare yourself for the final duel by Networking up some Barrages or Wildcards. You can also collect Shields and bait your opponent into fearfully bluffing one.

If possible, try to waste your opponent’s resources by timing your Reveal to come immediately after that captain had just spent energy. You have the advantage of choosing when to enter this duel; prepare accordingly.


Richard III is difficult to pilot, perhaps one of the more difficult characters in Captain’s Gambit. Your greatest enemy is your own reputation - you must spend your rounds wisely to defuse or redirect fears of your presence while slowly opening up the pathways for any number of victories. Like many others in Captain’s Gambit, Richard III cannot execute one plan, but instead prepare for multiple potential opportunities at once.

Stay hidden, keep the game shifting in your favour, and prepare to savour your well-deserved spot on the throne.

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Want to be a game designer? Get in the habit of sketching

I’ve seen too many people quit game design, and I won’t stand by it any longer! There are many reasons new game designers quit within their first few months, but I see one common problem crop up more than any other: people keep trying to build their dream game as soon as they start. If you truly want to have your best shot at entering game design, you’ll want to establish one critical skill first.

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Game sketching

Artists have sketchbooks. Mucisians have jam sessions. But I’ve seen many game designers - especially board game designers - leap straight into their best shot at a commercial game, instead of practicing fundamental design concepts.

To put that into perspective, that’d be like trying to learn guitar by renting a recording studio. Not only are you much too green to be reaching that far, but you’re also immediately leaping into ‘presentation mode’ instead of ‘growth mode’.

You must experiment in order to improve. Experimentation necessarily involves making shoddy work, things that you hadn’t thought about doing before. Conversely, whenever you go into presentation mode, the mode where you’re expressing something for others, that’s when you pick the best options from a pool of things you already reliably know. But if you haven’t experimented enough, the pool of ‘what you know’ is much smaller. The quality of your work will be capped by how much experimentation and practice you’ve done.

If you want to be a game designer, then like any other form of art, you’ll want to spend as much time as possible trying out design itself. Rushing to build a full game is a really easy way to get overwhelmed while also wasting a lot of time.

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This isn’t just a tip saying you should make small games when you first start - though that’s a fine tip as well. It’s actually saying you should go even smaller:

You can just design a talent tree.
You can just make a bunch of weapon stats.
You can just sketch out a crafting system.

It’s just like the way artists sketch out hands, or musicians practice with different instruments and tempos. If you want to focus on just riffing on a few ways a game could scare the player, do that! Let yourself design things that’ll never end up in a game, just to see how it would end up working. Do you love Star Realms? Try designing a new faction! Try designing a few new cycle of bases!

How to sketch

A game sketch can come in many forms, as varied as games themselves, but generally it’s along the lines of drawing / plotting / writing out game components, rules or mechanics.

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For example, you might design a few cards for a card game, or you might design a new player faction.

You might get into level design, or even draft up a concept map for how you could make players feel scared. You might even start by making some custom rules for King’s Cup. Game sketching is about seeing how you can add or change rules in a game and consciously playing with mechanics to see what happens.

In other words, if you want to improve, plugging away at a single project will be inefficient, and often, a source of despair that my deter you from game design entirely.

Instead of working on one game, try your hand at focused learning with a specific rule system, mechanic, or game element of any kind. Draft multiple approaches you could take to design (or redesign) any component in a game. The goal is to improve yourself, rather than make the best thing possible.

Why are game sketches useful?

Whether you’re drafting up vehicle prototypes, detailing a boss battle without a game, or seeing how many dice you can roll at the same time, spending time with partial game elements will give you a chance to experiment with the whole spectrum of game design skills - instead of forcing you to focus on one specific genre and one subgenre of designs. For example, you might think you can only create social deception games, but with enough sketching you can develop your weaker areas enough that any genre of game will feel comfortable and creative to play with.

In other words, sketching out partial systems ensures a balanced growth in your skills. It’s also the fastest way to improve your skills just in general, since you get to focus entirely on making smaller elements of a game work instead of trying to reckon an entire sytsem at once. Sketching out game designs can allow you to build up years worth of experience over the course of months - saving you immeasurable amounts of time and letting you build a well-rounded portfolio of design skills.

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And indeed, you certainly never have to make a full game, either. It’s a fulfilling hobby to just sketch out smaller systems and be satisfied.

But should you want to build a full game one day, your sketches will also function as a toolbox that will help you quickly solve problems, create solutions, and design creative and fun mechanics for your games.

The more game sketching you do - playing with smaller mechanics without constructing a full game for it - the more you’ll build up that valuable design instinct to keep you agile and creative. Keep at it consistently, and you’ll establish an ever-growing foundation for fulfilling and productive creation.

Extra Guidance

If you’d like some inspiration for sketching, you can check out some general tips on these choice youtube channels.

You could also reverse-engineer games you know to better understand its working parts
(See: Mindtrap and Slay the Spire).

You could sketch out solutions or small systems based on discoveries like this.

Once you’re ready to actually start your first game, you can get a boost by learning the stuff we wish we had known before our own first game.


Want to share your own game design journey, or see what we’re up to at Cloudfall? Join our community Discord for a chill time.

Stay lofty!

Why Card Removal is So Strong in Deckbuilding Games

Don’t underestimate the power of destroying your own cards! Overcome this hurdle to get better at deckbuilding games.

It has many names - Exhaust, Trash, Banish, Exile, Scrap, Purge…

Card removal is a cornerstone of many deckbuilding games, and for good reason. It is an understated mechanic in which you permanently remove a card from your deck.

To properly appreciate why card removal is such a neat solution, we first have to understand the inherent obstacles in deckbuilders. These obstacles are not bugs in design, but a part of the puzzle. Let’s see the puzzles we’re up against:

  • High-power cards are difficult to get, because they’re either expensive or rare.

  • You fill your hand to 5 cards every turn, but your deck starts with more cards than that. That means you’ll only see a portion of your cards every turn.

  • You discard unplayed cards every turn, meaning you can’t hold onto something and wait to draw the perfect synergy.

  • Your starting deck of cards is typically absolute garbage. Even if your deck has lots of good cards, you’ll have to draw through these bad cards first.

  • Since you draw a limited number of cards per turn, any bad cards will “eat up” your pre-portioned card draw - limiting the number of turns you’ll spend drawing the good cards.

Most deckbuilders give the players power to break any number of the above constraints. Card removal represents one such power - let’s take a quick perspective on why this is great:

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Let’s say your deck has 15 cards. 10 are bad and 5 are good.
If you draw 5 cards per turn, 66% of your hand is bad.
If you eliminate all 10 bad cards, you’ll draw your 5 good cards every turn. 100% good stuff!

In this way, any effect that says “remove a card” is kind of saying “Whenever you would draw a bad card, draw a better one instead.”

Even in the far less extreme, removing just one card from your deck every few turns still makes for some impressive acceleration. These effects compound over time, letting you draw and re-draw your most powerful cards more often the longer you play.

The advantage of eliminating your own cards is that any faction or effect has inherent synergy with anything else you’re doing - by removing unwanted cards, it means you’ll be more saturated with the other factions you may draw. So if you’re the type of player who likes setting up amazing combos, you may also want to draft a few card removal sources to maximize your odds.

In summary: if you’re scared of exhausting a starting card from your hand, fear not! Even if you like the effect, you can trust that you’ll find a better replacement soon.

Get out there and destroy your deck!


Further Reading…

The Legitimate Rebuttal

Good deckbuilding games are balanced around making deck thinning process a more difficult choice than “always”. In most games, you have to choose between removing cards from your deck vs gaining new cards or effects.

That re-introduces the question of when you want to thin out your deck or not. It’s not that deck thinning itself is weak - rather, its power is balanced out by the opportunity cost of your other potential actions.

Most games balance card removal by making it expensive, slow, or in competition with another cool ability.

When is Deck Thinning Useful?

If you can freely remove cards, then the answer is “if your deck is stronger without that card in the way”. But for most games, the option to remove cards comes with an opportunity cost where you miss out on a strong effect in its place.

This is really dependant on the game. The Machine Cult in Star Realms, for example, lets you scrap cards but in exchange for weaker stats per card.

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Meanwhile, the shop in Slay the Spire lets you remove exactly one card per visit, and it costs gold, and that gold price permanently increases each time you do it.

To fully calculate the value of card removal, the best thing you can ask is where your resources (including action economy) could be going instead.

To close out this post, this is a list of variables you can keep in mind.

Variables to Consider

  • Is this a one-time remove effect, or something I can benefit from for the rest of the game?

    • If it’s a one-time effect: Is the additional consistency better than spending resources on some alternative? Do I need to acquire a specific card/effect to solve a specific problem?

    • If it’s something that can continually exhaust: do I expect the game to last a while, or is it so close to finishing that I won’t actually feel the benefit of doing this?

  • Do I have any cards that are stronger than my baseline cards?

  • Do I have any cards that get stronger the more often I draw/play them?

  • Do I have specific combinations of cards that I’d like to draw together?

  • Do my opponents fill my deck with junk? (If so, a thin deck can actually be a problem.)

  • Do I need to optimize the chance that I’ll draw a specific type of card consistently?

  • Will I eventually have a use for these baseline cards?

  • Given my average hand draw and deck size: do I technically get more average (e.g. Money) per turn by eliminating a low-money card, or by adding a high-money card?


Good luck out there!


Curious about deckbuilders or maybe games in general? Meet us in the Discord, or join our Mailing List to stay up-to-date with Cloudfall news.

Stay lofty!