As you may remember, I’ve been working my way through Volko Ruhnke’s COIN Series (COIN for “counterinsurgency,” though my little group goes by the “Coin Collector Club” to sound barely less nerdy), beginning with the first volume, Andean Abyss. I liked it quite a lot, but felt it was a tricky entry point to a series that’s known for its complex asymmetrical conflicts.
As though on cue, the second volume of the series bursts through the door, dressed in an army jumpsuit, drab olive field cap, and underwear over the top of the pants. It’s Cuba Libre, here to save the day!
Just for tonight, Space-Biff! is going to act as my personal tell-all gossip rag. Gather round, because I’m going to spill a whole mess of secrets about my celebrity marriage.
Space-Biff! has been quieter than usual over the past couple weeks. Apologies. Couldn’t be helped. After all, I’ve been devoting most of my board gaming attention to figuring out Volko Ruhnke’s formidable COIN Series, which, if you haven’t heard of these behemoths, are all about insurgency and counterinsurgency — guerrilla warfare, hearts and minds, that sort of thing — and they’re endlessly and utterly compelling. The first volume, for instance, is called Andean Abyss, a four-way conflict over the jungles, mountains, and cities of Colombia, and it’s possibly one of the most thrilling, deep, and disheartening board games I’ve ever experienced.
Having grown up in a culture that places about a hundred times more importance on genealogy than basically every other culture that has ever existed, I naturally shied away from Legacy: The Testament of Duke de Crecy, a game about tending your family tree in early 18th century France. It frankly sounded like the second-worst possible way to spend an evening, trumped only by the utter tediousness of a train game that doesn’t include the displacement of native tribes, the breaking of strikes with Pinkerton agents, or the abusing of migrant laborers.
Boy, was I wrong. About the genealogy one, that is, not the train games. Those still suck.
I don’t make suboptimal moves on purpose. Okay, that’s a lie. If I’m teaching a game, or a friend seems like they need a win, or the current best move will just piss off everyone at the table, then sure, I’ll intentionally make a less-than-ideal move now and then. Just to keep things breezy. But not when I’m playing solo games, because nobody will get angry because I’m winning or store a grudge for next game or flip my handcrafted game table. When I’m playing alone, there’s simply no reason to take any move other than the best one I can see at any given moment.
That is, until I played Freedom: The Underground Railroad. Let me explain.
I recently finished a four-session play of the fantastic story-telling and map-drawing game The Quiet Year from Buried Without Ceremony, easily one of the indie-est board/card game designers I’ve had the pleasure of hearing about these last few years. The Quiet Year also happens to be one of the few boardgames I’ll gladly file under my “Why Games Matter” tag — it’s nothing short of compelling the way it assembles totally unique stories by a process of creative collision. It isn’t always an easy game to play, but it’s definitely a worthwhile one, if only because it will give you a window into your friends’ weird imaginations. I guarantee you’ll be surprised by what they come up with.
“But what is The Quiet Year, really?” you ask. Sorry, but one cannot be told what The Quiet Year is. I mean, you totally can be told what it is, but not here in the introduction. That’s an unreasonable expectation. The only solution is to read on.
Spring. Summer. Twenty-four weeks have passed in our telling of The Quiet Year, a story-weaving and map-drawing game from Buried Without Ceremony, and our year has been anything but quiet. Our community has shattered into far-flung splinters, tiny communities that were once part of a greater family, all of them grieving past losses, all of them seeking redress — well, except for the goatherds. They just watch their goats get it on all day. But everyone other than them is having a pretty rough time.
And this season looks like it might prove to be the roughest time of all. There’s a reason the folks of the Former World used to call it “The Fall,” after all.
Welcome to part two of our series about The Quiet Year, a storytelling and map-drawing game from one-man outfit Buried Without Ceremony! After the upheaval and social tensions that marked the end of spring and caused our community to worry that perhaps our new home wasn’t quite the fresh start we were hoping for, the summer season has fallen across the landscape like a warm blanket, and our small family of nomads is looking forward to mending divisions, securing borders, and working towards a brighter future — or a quiet year, if you prefer.
If you haven’t already, it would be a good idea to read about what happened to our family back in spring before continuing on with this season, because there’s far too much to relate to spend time catching up.
Today marks the beginning of a short series about storytelling card game The Quiet Year from Joe Mcdaldno’s Buried Without Ceremony. This designer is so indie, you can pay for his games by doing good deeds. Awesome.
This is going to be a little different than most of the stuff I write here at Space-Biff! As The Quiet Year is a storytelling game, I’m only going to talk about the rules a little each week. The rest is about the story four people crafted about our community; its hopes, fears, and struggles; and, eventually, its end.
I could write a review of Android: Netrunner, but there would be little point. Its quality is well-documented, and its more enthusiastic advocates speak of it with language that could fool the pope into believing it the second coming. Perhaps that isn’t too far off, crucified as it was by the all-consuming popularity of Magic: The Gathering and resurrected by Fantasy Flight Games for a new era. It is risen, etc.
What I’m saying is that this isn’t a review. It’s also not quite like anything I’ve done here on Space-Biff! before. Instead, this is merely a description of one of the purest, most memorable experiences of my board- and card-gaming career.