In the early days of 2020, as most of us were in confinement because of the COVID-19 pandemic, I found myself diving deep into Volko’s COIN series. My journey into the COIN system began somewhat by accident. I had played a couple of games, only with two players, and hadn’t enjoyed the experience. But as I discovered a new Discord server dedicated to the series, full of young and fun players, I finally wrapped my head around the genius of Volko’s system. There was a lot of enthusiasm and creative energy in this online space, and we all had a lot of time on our hands. One of the people that struck me the most was Joe Dewhurst. I tried and thoroughly enjoyed the early version of his prototype of The Pure Land. You might say it was love at first sight.

As I was almost done with Red Flag Over Paris, I got an idea: what if I designed a game that not only captures the essence of COIN games but also makes them accessible to a wider audience? I started thinking about the traditional barriers to entry for games in the system: the perceived complexity, the often obscure and heavy subject matter covered, complex faction interactions, and the daunting game length for some more casual players. Those were challenges I was determined to overcome. The legendary tales of Robin Hood, with their rich narratives of rebellion and justice, provided the perfect backdrop for this attempt. I could make the whole experience more contained, and offer a simpler opposition between an archetypical rebel and counter-insurgent. I also loved how the character had been subject to reinterpretation over time and wanted to tap into this rich and nuanced history.

I started designing A Gest of Robin Hood, focusing on distilling the COIN system to its core while embedding it within more narrative-driven design elements. I kept what makes a COIN a COIN: the two-player initiative system (stolen from The British Way) that elegantly condenses the decision making of the four-player games, the action menus with Ops and SAs (reframed as Plots & Deeds), the victory conditions tied to political influence rather than control, and the traditional guerilla pieces with their hidden and revealed status. But my approach to streamlining led to several adaptations and transformations of COIN mechanisms, such as transforming Economic Centers (ECs) into mobile carriages that journey through Nottinghamshire. This is one of the methods that I used to connect the game’s core mechanics with its thematic narrative, and through which I introduced something rather new to the COIN series: deception. The inclusion of deception fits perfectly with the theme of Robin Hood, who is not just a bandit but also a trickster. Also, considering the game is designed for two players without the element of negotiation that I enjoy so much in the rest of the series, integrating deception adds a layer of fun and excitement that I felt the game needed.

To ensure the game remained accessible, I also kept more complex COIN mechanics by “hiding” them in the design, for example: capabilities are still here, but they are directly integrated in the game state. This not only streamlined the gameplay but also allowed me to keep the rich narrative experience of the original series, where each player’s actions contribute to the unfolding story of Robin Hood’s rebellion against the Sheriff of Nottingham. And as a final touch to lower the risks of “Analysis Paralysis”, I removed the links between specific Operations and Special Activities, dreaded by beginner players.

My influences in designing this game were as varied as they were personal, also moving the game away from the “traditions” of the COIN series. From the enchanting Disney rendition of Robin Hood that captivated me as a child to the strategic challenges of Avalon Hill’s The Legend of Robin Hood, Brian Train’s Colonial Twilight, and the profound impact of Stephen Rangazas’s The British Way, each played a part in shaping A Gest of Robin Hood. These influences not only informed the game’s mechanics but also its spirit, imbuing it with a sense of adventure and narrative depth that I hope will engage players in a fun and meaningful way.

So is it a COIN game? It both is and isn’t, but what it certainly is is an invitation to both experienced COIN enthusiasts and newcomers alike to explore the character of Robin Hood, and discover or rediscover what this amazing game system can be. And unlike any other game in the series, it also contains literal coins!

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GMT Talk Interview with Fred Serval and Joe Dewhurst