Know how you can tell I’m a phony wargamer? I don’t play against myself. Sure, I’ll play solo, but that’s a different thing entirely. I’m talking about playing both sides. Working against my own interests. White knight takes black bishop. Simply can’t do it. What if I need that black bishop’s services next turn? As sure as rain makes pavement smell better, I’m picking a favorite and leading them to victory.
That is, until Mark Herman’s Peloponnesian War. First published way back in 1991 and only recently given a fresh printing, it’s possible that this is the finest play-against-yourself solo system ever crafted.
You may have read Teddy Roosevelt’s “The Man in the Arena.” It’s a paragraph about how critics are quivering simpletons compared to the brave souls who actually produce or perform, which of course means it’s my favorite thing ever written. I have a cousin who posts it to my social media timeline at least twice a year. Not sure why. He’s a professional consultant. That’s a fancy way of saying he’s a critic who gets paid. Not sure why you’re beefing on me, cuz.
Anyway. That’s what I kept thinking about while playing Proving Grounds, a solo game about a literal woman in a literal arena.
Ask me what my favorite thing is about Champions of Hara, and you aren’t going to like the answer. It’s far too twee. Too sickly sweet. Too basic.
Why don’t I tell you my second and third favorite things instead?
The word “wargame,” like most board game genre definitions, is a nebulous thing. Do political sims count? What about games about the weeks and months leading up to war? What about wars by other means? It’s this conundrum that makes me propose an alternative: a wargame is that which contains a rulebook that’s alternately impenetrable, opinionated, and insightful.
Ben Madison’s solo wargame The White Tribe fits at least the last two descriptors. In one sense, it operates in the same headspace as Tom Russell’s This Guilty Land — politically charged, critical of racism and the systems that support it, and deeply conscious of how legislation is passed, employed, and sometimes abused. But if it’s a mirror, it’s an inverted one. Where Russell’s approach was pessimistic, casting the U.S. Civil War as inevitable and compromise as poisonous — a view Russell supports quite well, as I wrote last year — Madison charts a careful course between terrible extremes and concludes that, sometimes, collaboration is the only way to keep from plummeting into the abyss.
Given this hobby’s churn of new releases, it isn’t often that I get to stick with a single game long enough for an expansion to roll around. Wray Ferrell and Brad Johnson’s Time of Crisis is an exception, and has reappeared on my table regularly ever since its release nearly two years back.
Good thing I waited around, because The Age of Iron and Rust may be one of my favorite expansions, adding three modules that transform this into one of my absolute favorite deck-building hybrids — and a considerable solo offering to boot.
He may be terrifying, but that doesn’t mean Mr. Cabbagehead doesn’t have enthusiasms. Farming his cousins, for example, followed by a village-wide exhibition of their corpses and a pale supper of their crisp flesh. Such is life for a ghastly were-vegetable.
In the three years since I reviewed Todd Sanders’ Mr. Cabbagehead’s Garden, everybody’s favorite sentient leafy green has grown up. Now he’s got a publisher, a posh production, and even a two-player mode. Guess he sufficiently impressed Eudora Brassica after all.
Life’s full of hard knocks, kid. The sooner you get used to it, the sooner you’ll stop feeling blue. Or, as Raymond Chandler put it, “I was the page from yesterday’s calendar crumpled at the bottom of the wastebasket.”
The first thing you need to know about Todd Sanders’ Pulp Detective is that, like all Todd Sanders games, it has an aesthetic of its own, and it’s nigh-on perfect in the right light and from the right angle. Scratch the box while extricating it from the shrink, and it’ll seep an even mix of blood, rye, and chance. That’s right, chance. Liquid chance. Deep like amber but it makes sticky everything it touches. Pretty like a dame who’s known nothing but trouble, but liable to bring that trouble tagging along wherever she goes. Serious as a priest offering confession, but—
Oh fine, I’ll start the review.
Now that Netrunner is dead, I’ve been thinking more about those first few months of its existence, before the pro scene and a steady march of upgrades left me standing on the highway watching the dust kicked up by its tires as it left me behind. It was one of those games that briefly captured me, gave me a rough shaking, and then departed forever. Years later I would happen across its obituary and stare, unsure whether I was feeling regret at not playing more or relief that I didn’t stick around until the end.
It’s Renegade that brings back those memories. Not because both games feature body-modded individualists peeling away an oppressive system’s layers of defense, though there is that. But rather because they’re both far cleverer than they first appear.
Oh, and because they both positively drown you in terminology. As in, hands around the throat, bathtub of ice water, drowning you.
It’s a tale as old as time. Boy meets girl. Girl isn’t interested. The town of Stjørdal gets invaded by flesh-hungry undead. Flesh-hungry undead are the only ones who can pronounce “Stjørdal,” so by ancient tradition they now own the town. Boy, with nothing better to do with his misdirected masculinity, loads up on iron stakes and vials of holy water. It’s on.
We haven’t covered anything by prolific print-and-play designer Todd Sanders for a while, but the recent envelope printing of Todd’s solo microgame The Draugr by BoardGameGeek seems like as good a time as any to jumpstart our moldering heart. So listen up, because this one’s lean, gorgeously ugly, and arrives printed on paper you might bring groceries home in.