Category Archives: Board Game
World War 2 Chest
You might recall a game from last year by the name of War Chest. Designed by Trevor Benjamin and David Thompson, War Chest was lavishly produced but fell prey to the same problem that plagues many modern abstract games. Namely, it lost sight of the joys of outmaneuvering an opponent by focusing too heavily on attritional tit for tat.
Undaunted: Normandy, by the same design duo, also tends to dwell on matters of attrition. In some ways it feels like an exploration of the same design space, despite differences of setting and even the lion’s share of its underlying systems. Here is another game by Benjamin and Thompson that features a flexible but finite pool of units, which might eventually become so depleted that they’re left sitting on the board with nothing to do but absorb another hit.
But here’s the thing — Undaunted: Normandy works. In fact, it’s a masterclass in how to put attrition front and center without strangling a game’s momentum.
Roll Through the Equal Rights Amendment
Matt Leacock may have gained public acclaim thanks to Lunatix Loop and Knit Wit, but I must confess a heterodox belief that Pandemic, Roll Through the Ages, and Forbidden Desert will eventually be recognized as his more influential designs. Consider Era: Medieval Age as a prime example. As a successor to Roll Through the Ages it sheds the system’s slimness for a small hill of plastic, but it also happens to be a near-perfect dice game.
Captain Doomsday Laser
Looking back over Tim Fowers’ ludography, one encounters titles like Burgle Bros, Paperback, Hardback, and Fugitive. Small games that defy their size by yielding plenty of play. Bite-sized experiences that mingle with your saliva to swell into a wadded sock that leaves your jaw unhinged and your throat blocked. Except in a good way.
And then there’s… this. If not for the distinctive artwork from Ryan Goldsberry, the large unfolding box, plentiful miniatures, and over-the-top production of Sabotage would feel like a symptom of a minimalist recently disabused of his convictions. This is what happens when the Church of Portable collapses into schism, with Fowers playing Luther and Jeff Krause as that little Oecolampadius fellow.
How strange, then, that Sabotage might also be the best game we’ve seen from this little studio thus far.
Two Minds About Untold
Brock: Do you hear that? On the wind? It’s a whisper, drifting from the remotest corners of tabletop gamedom…
“It’s not a gaaaaame.”
This time on Two Minds About, Dan and I take a look at Untold: Adventures Await, from designers John Fiore and Rory O’Connor. Did this box transport us to new worlds? Were we ensorcelled by its rapturous cardboard mendacity? Read on to find out!
Advancement Tracks
Genre is a funny thing. What counts as a western, for example? Or noir? Is there a tipping point between horror and action-horror? Do genres inform our artistic decisions, or are they labels we slap onto things to arrange them into tidy boxes?
Even though it hasn’t officially hit retail yet, Jamey Stegmaier’s Tapestry has already proven divisive. Right there beneath its title, it announces its intentions. A Civilization Game, it says, front-loading expectations with a whole lot of history. But if it’s a civilization game, it’s certainly an unorthodox one. Some have called it an evolution. Others seem to consider it a misfire. As someone who’s deeply interested in “alternate” civgames, those that seek to portray the sweep of human experience in ways that haven’t been endlessly rehashed, I’ve picked my side. I’ll put it this way: if civgames were westerns, Tapestry would be Cowboys & Aliens.
Barker Placement: A Look at The Grand Carnival
Back in March I wrote about the seven best prototypes of SaltCon, including my personal favorite, The Grand Museum by Rob Cramer. You might remember Rob as the designer of the very silly wallet game Turbo Drift. Or maybe you don’t, because wallet games are tiny and often overlooked among the slew of big releases that clog up the headlines every month.
Well, fate is a strange thing, and not only because it doesn’t exist. After some retooling and a whole lot of development, The Grand Museum is back as The Grand Carnival, it’s better in nearly every way, and I’m here to tell you about it.
Hollow Is Right
As much as I appreciate asymmetry, not every game needs its sides to adhere to different rules. But as long as you’re going for it, there are worse pitches than Skulk Hollow. Basically, it’s man versus monster — except the men are foxes and the monsters are ten-story behemoths reminiscent of Shadow of the Colossus, including the “clamber up their short hairs to stab them in the soft spots” part.
I’ll say this for Skulk Hollow: ambition isn’t its problem.
More Vaster, Less Vastish
What I most appreciated about Vast: The Crystal Caverns was its improbable intermarriage of two ideas. The first was its dungeon, generated in roguelike fashion from a generous stack of tiles, producing a sprawling cavern filled with perils and plunder. The other idea was deep, even idolatrous asymmetry. Far more than the possibility of the multiple heroes offered by so many other dungeon crawls. Rather, it was an all-inclusive medley of characters and play styles. The knight versus the dragon, but also the sneaky thief, a pack of suicidal goblins, and even the haunted cavern itself, all working at cross-purposes.
Just as Vast beget Root, Cole Wehrle’s more approachable take on rabid asymmetry, so too does Patrick Leder’s Vast: The Mysterious Manor emerge from a paradigm established by Root. Which is really just a fancy-pants way of saying that this is a kinder, friendlier Vast — when it comes to learning the rules, at least.
Four Cutting Boards
One of the hallmarks of abstract games is their low barrier of entry. Easy to learn, difficult to master, as you nerds love to say.
Manolis Vranas and Jamie Sajdak’s Shobu — which Google Translate informs me means “processing unit,” although I have no idea how they got that from the kanji for “victory” and “defeat” — is so easy that its three rules are printed on the back of the box. How delightfully brazen! Which is why, although I’m usually loathe to list a game’s rules, I’m going to teach you how to play Shobu right this instant.
Perambulating in Burano
Every so often, a game comes along that makes you say, “Well, that was charming.” Maybe that sounds like faint praise. Fair enough. Often it is.
Not in Walking in Burano, designed by Wei-Min Ling and illustrated by Maisherly Chan. This thing walks the line between charming and chewy just enough that I’ll forgive its first player marker being a cat standee.
SPACE-BIFF! 