Your first strategy game Restoration is a worker-placement Eurogame. What drove you to make the leap from family games to a more complex Euro — and what was the most challenging moment during development?
You've been publishing games since 2019. If you look back at your very first published title — what would you do completely differently today?
Your games have a distinctive visual identity. How does Ngũ Hành Games' visual style come together? Do you work with Vietnamese illustrators, or is the design process more international?
You described the Vietnamese board game scene as a "hidden hobby" that only really began around 2012. What was the spark that got YOU into board games — and when did you know: "I don't just want to play them, I want to make them"?
Your Facebook community "Hóng Hớt Board Games" has 23,000 members. What topics are Vietnamese players most excited about right now? Are there differences to what's discussed in Western forums?
You've attended conventions in five Asian countries. Which moment at a convention surprised you the most — in a positive or negative way?
You mentioned there's no dedicated board game store in Vietnam yet — and that you're "honestly dying for something like that." Do you think that will change soon? And: would YOU be the one to open the first?
You shared a very honest observation in the BGG thread: when your male co-designer explains a game, people seem to accept it more readily than when you do. Have you developed a strategy for dealing with this — or has the dynamic shifted since you started paying attention to it?
You discussed internally whose name should go on the box. How did you ultimately make that decision — and do you ever regret it?
You researched how rare it still is to see games with a woman listed as the sole designer. Did the numbers surprise you? And in your view, what would need to change for us to see different numbers ten years from now?
Onstage was licensed by Arcane Wonders for the US market — a major success, yet you described the feeling as "bittersweet." What exactly makes up that tension: pride, or the sense of having lost something?
You use freight forwarding and group orders to get games into Vietnam. If you had one wish for the global board game logistics system — what would need to change to make it easier for non-Western markets?
What's your next game — and what are you doing differently this time compared to Restoration?
If you look back five years from now — what would need to have happened for you to say: "That was the breakthrough"?
What's one thing you wish you had known before you started publishing games?