A friend recently mentioned a statistic (that I’ve since verified according to multiple studies) that most people–over 80%–who have purchased a bottle of wine have made their decision largely based on the label. Not taste or research, just a label that spoke to them.
Have you ever purchased something based on its packaging? I absolutely have. Wine, games, books, chocolate, coffee, disc golf discs…sometimes the packaging draws me in and inspires me to learn more, but sometimes it’s almost the entire decision (i.e., I want this because of how it looks).
I mentioned this topic on a recent livecast, and viewers had even more examples: beer, hot sauce, restaurants, cereal boxes, and more. It also came up on a recent podcast episode of Unit Economics about how Byte’m brownies focused their packaging on a delicious-looking brownie instead of on their high-quality ingredients.
In the tabletop game space, box covers have a huge impact. It isn’t just about their marketing appeal; publishers try to make boxes that people are proud to display, that are compelling both at a game store and in an online thumbnail, and that function from different angles.
For all those reasons, at Stonemaier Games we pay far more for the box illustration than any other individual piece of art in the game (only a detailed game board comes close). I often look to other games for inspiration (thank you, BoardGameGeek!), and I always like to get at least 3 concept sketches from the artist before pursuing one of them in detail.
Then there’s another set of decisions to make about the labeling on the box: The size and position of the game name, the names of the designer(s) and artist(s), and the inclusion of key information like player count and playing time on all 6 sides.
There’s also the presentation on the back of the box, where we’ve traditionally placed a 3D setup image. We’re starting to pair that with 1/2/3-style explanation speech bubbles so a potential customer can quickly grasp what the game is about.
It’s always a work in progress, and I’m always learning from other publishers–it feels like every week there’s a new game announced with a truly stunning, evocative box. Whenever I go to a local game store, I try to pay close attention to which boxes grab my attention; I also recently went to Barnes & Noble for this specific purpose.
Have you ever bought a product based on its box, label, or cover? What would you like game publishers to learn from your experience?
This is a board game blog. Board games are a medium which can help us understand – for example, they can provide a uniquely active perspective on history. Yet which other medium can provide a fresh perspective on board games? – This is where novels come in handy. Today, we’re going to look at The Third Reich (Roberto Bolaño), a study in obsession as well as gaming and history.
Spain in the 1980s. Udo Berger, a young German, has just arrived in a small seaside town for a vacation with his girlfriend Ingeborg. Yet Udo’s mind is not on the beach. He has just won the national championship at the wargame The Third Reich (clearly based on Rise and Decline of the Third Reich (Don Greenwood/John Prados, Avalon Hill)) and plans to use his vacation to write an article on his new strategy for the Axis. Ingeborg, however, has more traditional vacation activities in mind, and so they spend some of their swimming, tanning, and partying, through which they befriend another German couple, some locals, and the enigmatic paddleboat renter who is only known as El Quemado (The Burned One) for the burn marks which cover his body. When the vacation comes to an end, Udo remains in Spain, supposedly to help in the case of an acquaintance lost at sea windsurfing… yet the real reason is the game of Third Reich which he plays against El Quemado.
Chilean novelist Roberto Bolaño wrote the novel in 1989. Since he turned his hand-written first draft into a typoscript (and later typed the first 20% into his first computer), it is assumed that he wanted to eventually publish it, but he didn’t do so before his death in 2003. When the novel was found among his papers, it was posthumously published in 2010. In addition to the original Spanish (El Tercer Reich), the book has been widely translated. I read the German translation.
Warning: Spoilers for the plot of The Third Reich ahead – but frankly, this is not a book you read for plot, you read it for the vibes.
Obsession: Conquest, Validation, Control
Udo Berger is wargame-obsessed, but the book is not a study of how an outsider has outsider fixations. On the one hand, Berger’s obsession with conquest and domination sets him by no means apart from his peers – just that they usually direct their respective urges to amorous exploits. On the other, our protagonist does not only want to conquer in the game either. In addition to his girlfriend, he also pursues the hotel manager Frau Else (who has been his crush when he was vacationing in Spain as a teen), and the underage chambermaid Clarita. And maybe most of all, Berger is fixated on being respected by his wargame peers, which he can only imagine obtaining by finding strategies (and publishing articles about them) which will obliterate all conventional wisdoms about the game.
As Berger is acutely aware of his lack of linguistic sophistication, he decides to practice by writing a diary during his vacation (which is what we read in the novel). The development of this diary reflects the changes in the writer: Originally, his daily entries are very structured (one per day, headlined by the date), and mostly concerned with banal reports on what he did, what he ate, and what he has in mind for the game/article). As Berger is drawn more and more into his duel with El Quemado, the diary gets more confused: He jumps from one level of narration to another within the same paragraph, extensive passages are solely dedicated to what’s happening in the game (down to which counters are placed on which individual hex numbers on the board), and the chapters are not only named after the dates, but also entitled “With El Lobo and El Cordero [his Spanish acquaintances]”, “Spring 1942” or “My Favorite Generals”.
Berger’s inability to focus also dooms his conquests (ludic and erotic): He sets out to prove that opening a second front early is not a liability, but an asset, and enthusiastically reports early in the game to a friend at home that it’s “Blitzkrieg on all fronts”. Yet as he conducts an amphibious assault of Britain at the same time as he invades the Soviet Union, his forces are overstretched and his Axis collapses before the historical date. And broadcasting his erotic attention over Ingeborg, Frau Else, and Clarita, does not further his relationship with either of them.
As things slide out of his grip, his attitude to control changes: Initially, Berger is fixated on the superior strategy. He notes down the exact moves – which corps need to occupy which hex in which turn to win. This chess-like approach collapses after the turning point of the game: Once El Quemado begins his counter-attack, Berger mentions for the first times that there are die rolls in the game (and how they favor his opponent) – not unlike many board gamers I have seen.
Gaming and History
Besides the main theme of obsession, the novel also offers many glimpses on gaming, history, and the relation between the two.
Berger arrives in Spain with his life compartmentalized between the gaming and the “normal” part – his girlfriend and the office job. This compartmentalization is already eroding with his plan to write the strategy article (which immediately chafes against the confines of a conventional vacation – the hotel employees are bewildered by his request for a large table to be set up in his room, and Ingeborg demands he come to the beach) and fully collapses over the course of the book, when he even unilaterally extends his vacation to play the game (and gets fired for it).
The shadow of history hangs over Berger. Our protagonist does not only play games about World War II, he also reads “patriotic” literature of the era, knows about the lives and deeds of the German generals (especially those of the SS), and the only of his wargamer friends for whom he has a certain reverence is a veteran of World War II. Despite this clear fascination for the history of Nazi Germany, Berger twice disavows being a Nazi himself (having been asked by El Quemado and Clarita). Once he even calls himself an “opponent of the Nazis”, but does not expound on it. His personal politics do not factor into the novel – Berger, having been born around 1960 in democratic, liberal, prosperous post-war Germany enjoys the luxury of only engaging with history at his leisure. He thus remains at the surface of it…
…unlike his gaming opponent. El Quemado comes from South America, and it is rumored among his Spanish acquaintances that the scars he bears are the result of torture (by one of the many right-wing regimes which took power in the 1970s). History has thus seeped into his body and gives him the strength to withstand the ludic assault of the experienced player Berger.
Bolaño himself was arrested after the 1973 coup in Chile and, to his own wonder, was released after eight days without having been tortured (he ascribed it to two of the detectives having attended school with him). He then emigrated to Spain where he worked odd jobs in the tourism industry like El Quemado.
Another allusion to Chile is made in a much-misunderstood scene: On September 11, everyone is out at the beach to celebrate the Catalan national holiday. Yet when a plane flies overhead, an eerie sense of dread overcomes the spectators. Many reviewers see this as a revision which Bolaño must have made after the September 11, 2001 terrorist attacks (or, as an odd coincidence) – but I think the likeliest reason for the scene is that the coup in Chile began on September 11, 1973 with the rebelling air force bombarding the presidential palace in Santiago.
Verdict
Roberto Bolaño’s The Third Reich starts with the innocent concept of a beach vacation. As it grows darker, the novel develops a hypnotic pull. The author’s own deep knowledge of wargames allows him to paint a vivid picture of the game itself – and of the hold it can have over its players.
The inner courtyard goes completely quiet as dusk falls. Lantern light flickers softly against white walls and dark timbers. Servants move soundlessly like a gentle breeze, tending to gravel paths and manicured trees. Deeper inside the fortress, careful whispers of politics and ambition drift through the great halls. Everything feels deliberate, and every offering is carefully chosen to seek favour in a world where position is everything. Beneath that calm surface lies quiet competition, subtle manoeuvring, and the constant need to prove one's own worth within The White Castle by Isra C.and Shei S. from Devir with art by Joan Guardiet.
Skara Brae brings us to the Orkney Islands in prehistoric
Scotland. You manage a growing settlement. As more and more people flock to
your settlement, you need to make sure you gather enough resources, build
shelter, and cook enough food to feed everyone. At the same time you need to
manage the waste generated by the settlement. There is a message about
sustainability here
In S. J. Simon’s book, “Why you lose at Bridge” he invents a character “Futile Willy.” Futile Willy isn’t bad (per se) but his defining feature is making bidding decisions that have limited rewards, but huge risks. Playing in a two session event with Roxie, our opponents are mostly what I deem “experienced novices” (playing for years, know a bit of bidding, but have not progressed far) mixed with intermediates. Perhaps two pairs are of similar caliber.
There are many ways to judge experience; one is knowing when to compete. And when not to compete.
Experts love …. LOVE … to get in the bidding, but also know when to shut up.
Example #1
I pick up something like xx AJxx Kxx JTxx and it goes 1D by Partner and 1S on my right.
I make a (negative) double, LHO passes, Partner bids 2C and RHO rebids two spades.
My negative double only guaranteed hearts, not clubs (I have five hearts with a hand too weak to bid); I actually have four clubs. So (despite having no extra values) a raise is reasonable because a) you never want to let them play at the two level unless they are in a misfit1 and b) my hand is mostly “working”. The King of diamonds is probably golden given that partner has 8 or more minor cards, aces are always nice. (If I had points in spades, I’d be much more content to defend).
LHO hems and haws and then bids 3 Spades. Roxie and I are done, and I am happy to have an easy safe lead of the jack of clubs. (I could lead a diamond, to be sure, but it’s matchpoints).
The final auction
LHO CHO RHO Me
1D 1S X
P 2C 2S 3C
3S All Pass
Dummy is a massive surprise. Sure she has two spades, but also five clubs (Q9xxx)! Passing gets her an above average board, doubling gets a likely top and her actual bid gives her a terrible board. Afterwards neither partner and I could believe it.
Example #2
Later on I pick up a regular 1NT opening with something like S: Qx H: KJx D: KJxx C: AJxx.
Roxie responds 2 Hearts (a Jacoby Transfer, indicating spades) but before I bid RHO doubles (showing good hearts).
Roxie and I haven’t discussed it (at least — I’m not sure we have) but typically I play that accepting the transfer over a double confirms three (or more) in that suit. With only two spades I can pass, and partner can redouble to “re-transfer” or bid spades herself. (It probably doesn’t matter on this hand, but if she had the king of hearts instead of me…).
So I pass. Roxie then bids …. 4NT.
This is a quantitative slam try. I am at a minimum, so normally I’d pass … but my hearts are well placed. If RHO has AQxxx of hearts, I have two heart tricks, so my KJx of hearts is worth closer to six or seven points instead of four2. Therefore, I bid six NT.
I get a surprise when Roxie shows up with Ax of Hearts. Was RHO doubling on Queen – sixth? Nope, just Qxxxx.
But in any case there is nothing to the play3 because LHO did not find the killing lead and instead led the suit partner had asked him to lead. Doubling on AQxxx and out is reasonable … you tell your partner what to lead. There’s a risk of getting redoubled (with KJTx or so behind you). but its an acceptable risk.
But with just a queen empty suit, the odds of a redouble (or other “bad luck” as in this hand) are high and do you really want partner to go out of his way to lead a heart?
Example #3
The most egregious example.
I pick up a strong NT, but I’m third to bid. Partner opens one club.
My hand is flat (4324) so the only issues are: A) do we have a major fit and B), does partner have extras.
I bid 1 Spade and partner rebids 1 NT. So the answers are A) No and B) No, therefore I’m bidding 3NT.
Except my RHO (who couldn’t bid over 1 Club) has doubled. They are vulnerable, we are not. 3NT is probably +400 to +460. We can get much, much more by defending. So, redouble.
Despite a slip up on our part, we get +500 easily for what should be a top (except that someone bid a hopeless slam and was allowed to make it). Without the slipup we easily beat the mere +990 for the non-vulnerable slam. What was RHO’s double? A semi-balanced ten count, after opener had fully described her hand. It would be one thing to double if I passed 1NT … then there would be an expectation points were (roughly) evenly divided.
In this case the double did nothing but offer me a fielder’s choice.
With us encountering three Futile Willys (or Wilhelminas), our mistakes merely turn tops into “almost tops”, so it’s a highly successful day.
And while they might be, nothing about my hand suggests so. Even if dummy has no spades, RHO’s spades are probably fine playing opposite a stiff, and partner’s spades and underneath them. ︎
KJx opposite xx is averages 1 trick (if honors are split) and gets 2 tricks 24% of the time and 0 tricks 24% of the time (when honors aren’t). So if KJx with no knowledge is one 4 points, KJx expecting both honors onside is worth more. (And 24% instead of 25% due to the Law of Vacant Spaces, which Wikipedia calls “Vacant Places” but OK) ︎
In fact, I missed a small risk-free line to make the overtrick; but it didn’t matter, because everyone else passed 4NT (assuming their partners even bid it). ︎
So uh, what’s it like, having such a short life cycle?
Peter and Will play Epic Warpath over some really incredible Gale Force Nine terrain!
My mini-season of battle reports from Will’s recent visit continues, and this time it’s an incredible game on probably the most spectacular tabletop of terrain I’ve ever had the good fortune to play on. That’s mostly thanks to Gale Force Nine, who sent me several boxes of their amazing pre-painted Gothic Sector epic scale terrain. You can see my unboxing of it all in this video.
The game is Epic Warpath by Mantic Games, and I’ve got to say I’m really impressed with this pretty streamlined, easy-to-use, and fun system for epic-scale scifi wargaming. I’m looking forward to getting my hands on some different factions and painting them up too! While panting epic armies can be a bit of a chore, the results, as you can see, are undeniably stunning, and the scale makes for big, beautiful games. So enjoy this session, where we show off Epic Warpath at its absolute best, and have a lot of laughs at the same time!
Making high quality tabletop gaming content at the EOG takes time and money. Please consider becoming a Patreon supporter or making a donation so I can continue this work! Thankyou!
Tom Lehmann is one of the sharpest card game designers in the biz. Responsible for highly regarded engine builders such as Race for the Galaxy, Jump Drive, and Res Arcana, he has branched off to ply his trade in the somewhat creaky deckbuilding realm. The result is a mashup of traditional aspects riffing on Dominion…
For the last few years, I’ve been buying bar soap from a friend who makes custom soap as a hobby in the greater St. Louis area (Nerdy Bird Nest). In early 2025, after buying my latest batch, I had a wacky idea: What if we worked with Jenna to make soap that smelled like the themes for several of our games?
We already find a variety of ways to make game nights more immersive (thematic music, food, drinks, etc)–why not add to the immersion with soap that reminds us of the gritty landscape of Scythe or the vineyards of Bordeaux?
It seemed like a great fit for our series of silly-but-real April Fools products, and Jenna agreed…but she said it was already too late to have the soap ready in time for April 1, 2025. So we decided to plan ahead for 2026.
The extra time was a big help, as it gave Jenna time to experiment with different ingredients, fragrances, and colors. After a few months, she shared with me a total of 6 different bars that smelled and looked like Euphoria, Scythe, Finspan, Viticulture, Apiary, and Wingspan:
Making soap is just a hobby for Jenna, so I asked her for full honesty in regards to how many bars of soap she could comfortably make over the next few months and still have fun with the process. She said would be comfortable making 100 of each bar, which is far more than she’s ever made of even a single type of soap in the past.
So while Jenna made the soap (a process that is just as much about waiting for the soap to set as it is about mixing the ingredients), I collaborated with our graphic designer to design two sets of boxes. We decided to sell the soap in sets of 3 so we could reach more people (200 people instead of 100).
I looked into box manufacturers in the US, but I found the same thing I’ve found with various US manufacturers: Less customization, less personal, limited communication, odd scaling, and higher costs. In contrast, Panda made the process incredibly easy. They quickly printed the boxes and sent them to us, and I handed them off to Jenna at our monthly cookbook club.
I also looked into the possibility of shipping the soap from the US over to our fulfillment centers in Canada, Europe, and Australia. There were several key problems with that idea, though: The shipping would have significantly increased the price of the soap, it would have spread such a small quantity even thinner, and most importantly, each region has its own regulations and certifications for beauty products that added risk and expense. So I made the call to only offer the soap on our US webstore.
Real April Fools products are always a bit odd, as people generally assume they’re not real. However, enough people clicked through to our webstore on April 1 that the soap sold out in just over 10 minutes.
I genuinely never want to have such a limited stock of anything, but I think people understood that there was an individual human behind the creation of these soaps–Jenna is just one person, not a factory, and there truly was a limit to how many bars she could make. However, Jenna can make more, and if/when she does, she’ll share them on her Etsy store.
If you were among the 200 people who bought the soap on April 1, I look forward to hearing your thoughts upon receipt. For everyone else, what game world would you like to see as soap?
Wizards of the Grimoire is a two-player head-to-head battle game. You are wizards and you deal damage to each other by casting spells. To win the game, you need to reduce your opponent's health points to zero. This structure is pretty common. However the way you pick spells to use and manage mana needed to cast them is interesting. The game certainly offers something new.
There is
I attended a fundraising trivia night over the weekend where every table had a theme chosen by the attendees. Our table was Wingspan & bird themed: Most of us wore bird shirts, there were dessert nests with candy eggs, we had two huge owl statues, and I brought a random Wingspan Americas bird card for each of the 10 of us.
The fundraiser was entirely unrelated to tabletop games–it was for the St. Louis roller derby team–but several people stopped by to say how much they loved Wingspan. One comment stood out: “I love Wingspan. It’s the only game I play.”
You might glance at your vast collection of games as you read this and wonder why this person hasn’t tried other great games, but think back to when you got into modern gaming. For me, Catan was the only game I played for a few years, followed by Agricola. The mentality was, “Why would we play something else when we already know–and enjoy–this game?”
Eventually I started exploring other games (Fresco, Dominion, Stone Age, etc), but I would bet that a not-insignificant number of people are “lifestyle gamers”–they pick a game, and that’s the only game they play. They might go deep into a modern game like Wingspan, a classic game like chess, or a trading/living card game like Magic.
I love when someone finds a game that they want to play over and over again. As a publisher, I want to support the things that bring people joy. Here are a few ways I try to support those who choose to play a specific Stonemaier game over and over:
community support: If I go deep into a game, I like to talk about the game on online forums (especially BoardGameGeek and Facebook). I try to help people feel welcome when they venture into the comments for our games, as it can be intimidating to show up in a group of 20,000 people and not know how your first question/comment will be received. Part of community support also includes supporting and encouraging fan creations (e.g., Wingspan’s bird promo packs or expansions like Scythe: The Wind Gambit).
content creators: Here’s a little secret about why we send so many games to reviewers (all games in our catalog, not just the new hotness): It’s just as much to get people excited about the games they already play/own as it is about informing people who don’t already have the game.
digital versions: The tabletop experience is awesome, but it isn’t always an option. We work with developers to bring our games to life digitally so the person who plays Wingspan once a month in person but wants to play every day in between online can do that.
accessories/expansions/promos/merch: For the two games I played over and over for several years (Catan and Agricola), we literally had one copy of the game among us. At a certain point, those of us who didn’t own the game felt the desire to contribute. We bought expansions, upgraded tokens, and promos; we might even have bought Agricola t-shirts if we had thought of it.
spinoffs/sequels: There are certainly many people who just want more Wingspan or more Scythe. But there are some who want different-Wingspan or different-Scythe; hence Wyrmspan, Finspan, and Expeditions.
gift giving: My first few games after Catan and Agricola were all gifts. I’m sure I would have eventually started buying other games myself, but I’m so grateful that people gave me that nudge by giving me Dominion, Stone Age, and Fresco. We have a gift guide at Stonemaier Games, but as I write this, I think it might be helpful to bridge the gap between popular non-Stonemaier games and our games. For example, if someone you know loves Carcassonne, they might also enjoy Between Two Castles. That sort of thing.
Did you–or do you still–have a game that you play over and over? In what ways has the publisher supported your passion for that game?
Why water infrastructure is so hard to get right, and the noble efforts of Ek Son Chan to fix it in Phnom Pen, including facing down an Army general and his body guards while personally installing a water meter on the general’s house.
The salty air filled our lungs as gulls circled above the quayside. The harbour was alive with excited voices and the clinking of coins. Ships came and went, their hulls heavy with stories of distant islands and dangerous encounters. Somewhere beyond the horizon lay our opportunity to make our fortune through trade, charm, or even force. As we stood at the edge of the dock, we mapped our routes as we were Islebound: Emerald Edition by Ryan Laukat from Red Raven Games with art by Ryan Laukat.
Toy Battle is a two player abstract game. My first impression is
this is a game when you play with not only those tiny green toy soldiers but
also with unicorns, dinosaurs and robots, and you make proper rules for a
battle game in your living room, which you can imagine to be any world - space
station, beach front or graveyard. The game comes with many different boards,
“The largest U.S. carriers seek to capture corporate travelers and affluent leisure passengers who are willing to pay more for comfort. Increasingly, airlines are betting on selling fewer seats at higher yields rather than packing planes more densely with standard economy passengers.” —NTD
Here’s how one might rewrite this quote if it were about tabletop crowdfunding:
“Tabletop publishers seek to capture affluent gamers and those who want to focus on fewer, deluxified games. Increasingly, publishers are betting on selling expensive games (lower total quantities) at higher yields rather than lower-priced games (higher total quantities) at lower margins.”
Two recent examples are Brass Pittsburgh and Slay the Spire: Downfall. Both campaigns are impeccably crafted and highly successful: Even just a few days in, they’ve raised close to $7 million combined.
If I wanted to pledge to the highest core levels for both campaigns ($425 for the game and expansion for Slay the Spire and $350 for all three Brass games), I would spend close to $800. Out of around 31,000 backers between the two campaigns, close to 3,000 people have already backed at those levels (around 10%). These top pledges have raised around $1 million out of the combined $7 million total (around 14%).
Clearly there is an audience for these top-tier reward levels, particularly for highly acclaimed games that have earned their value (Brass Birmingham is ranked #1 on BoardGameGeek; Slay the Spire is #18). Perhaps at least part of this stems from hobby gamers with bursting collections who want to focus on fewer, fancier games.
Unlike airlines, however, there isn’t limited space on a crowdfunding campaign–these publishers have found a way to serve more budget-conscious backers too. Roxley included a $79 reward for Brass Pittsburgh (821 backers) and Contention Games included an $84 reward (2325 backers) for the Downfall expansion.
Another example is Garden Club, which has a $39 level and a $69 level on Kickstarter now. Chris Couch Games can serve both budget-conscious backers who just want the game and wealthier backers who want everything.
Here’s my hope: Selling some premium, high-margin products can help publishers maintain lower prices for the masses.
What do you think? How do you feel as a consumer right now, and what would you like publishers to learn from these campaigns? Is there such thing as an economy that serves all types of people?
One thing a board game will never formally have, is an overture. The three hour and 47-minute epic Lawrence of Arabia begins with a four-minute piece that encompasses a medley of themes pertaining to the film’s atmosphere, setting, and characters. It sets the stage for the powerful cinema you are about to experience. The closest…
There is a video where Jorbs talks about StS2’s Beta branch and the many complaints about a Boss called the Doormaker. This is mostly “inside baseball,” but Jorbs brings up a problem common to many games. (For reference, the modified Doormaker steals every 10th card you draw. The point was to stop infinite combos where you draw your entire deck, which lets you play the important cards and draw them again, etc all during the same turn).
Jorb points out that at the start of the game, the game state (what you can do) keeps branching and growing. You get more options, the number of variables increases, etc. He continues….1
“An issue that StS1 always had and StS2 had on release is that at the end of Act II, this game tree funnels a lot. … It stops expanding and more and more things start compressing as you get to a point where … you see how to win all the fights ahead of you.” (And you just have to click the buttons for 20-30 minutes).
While I’m not the player that he is, it is somewhat true. Typically I die in Act I or Act II. Rarely in Act III and when I finally beat Ascension 10 for the first time, I was fairly confident of winning once I won Act II. (I was not on the Beta branch). The Doormaker is a major “bomb” in game design terms. If your deck requires you play a specific card to win, there is a 10% chance he’ll eat it. If your deck requires you to play the same card dozens of times … well, now you need a new plan. (Which does exist, and is more inside baseball).
(Slay the Spire 2 offers you a positive “bomb” at the start of act III to balance this, you will get a huge bonus from the Ancient One).
This is from the transcript, except cleaned up to remove ums and things like that ︎
Be victorious on the battlefield with your Kings of War rules & reference!
I’ve been covering a lot of Mantic Games lately (especially since a certain other company decided they didn’t want the support of content creators), and I’ve been very pleasantly surprised by their offerings. The new Epic Warpath is a great system with a wide range of classic scifi factions to play with, and Halo: Flashpoint is coming into its own as the range of available models increases. But the one game of theirs I haven’t explored yet is Kings of War. It’s perfect timing then, because the new 4th edition has just been released!
Kings of War is a classic ‘rank and flank’ fantasy tabletop miniatures game, in the tradition of the old Warhammer Fantasy Battle (now Warhammer: The Old World). It’s been interesting to see these old regimental games enjoy a resurgence of popularity – Hobgoblin and Conquest: Last Argument of Kings are two others – and there’s certainly something very satisfying about pushing around trays of warriors in neat rectangular formations. Kings of War commits completely to the concept because you actually model the miniatures attached to the base, rather than have them individually standing on it. It may mean a lot more modelling – building and painting 10 miniatures to make a single unit is a big job – but it certainly looks spectacular when you have a full army on the field.
As for the rules themselves, they’ve been cleaned up from previous editions. I haven’t played yet (I’ve been busy painting, which is now all done – watch out for a tips video), but will film a game when I do so you can see how it goes; but Mantic have a habit of making very solid rules systems, so I have high hopes. The new starter set Claws in the Sand is a good introduction box for new players and features two unusual small armies – the aquatic Trident Kingdom and the Medieval Japanese-syled dogmen of the Xirkaali Kingdom.
In the meantime, here’s my rules and reference to make your games easier and smoother – and of course you can also find it in my rules app Tabletop Codex!
Anmelden
