Three Trees, One Forest: Finding the Core Metaphor Behind SUPERA

When I first started thinking about SUPERA, I knew I wanted a simple yet meaningful metaphor to guide the game. The mechanics—stacking wooden blocks along three perpendicular planes that are slightly tilted—imposed a natural structure. And it quickly became clear: this design would demand exactly three competing trees. Two would work too, by leaving one color out, but three is what makes the geometry and tension feel right.

The trees themselves emerged naturally from both function and aesthetic. I chose white, red, and brown, representing Beech, Mahogany, and Wild Nut. These are not just colors—they give each tree a distinct personality and help players intuitively identify the pieces. They also serve an educational purpose, subtly encouraging players to think about the diversity of species in a forest, without ever feeling like a lesson.

In playtesting, the metaphor clicked immediately. Players see the trees rise above the canopy and understand, almost instinctively, that only one can rule the forest. The balance of the three trees mirrors the balance of the game: every placement affects the whole, and strategic choices matter as much as dexterity.

It was humbling to realize that the combination of geometry, color, and metaphor could create something both playful and deep. The three trees are more than just game pieces—they are the heart of SUPERA, guiding every choice, every turn, every collapse, and every triumphant moment.