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Fry n’ Write

27. März 2026 um 18:45

now I want chicken

Food trucks, like roll-and-write games, went from unknowns circa 2013 to oversaturated by 2021 to fresh all over again in this the year 2026. At least that’s the hope behind Chicken Fried Dice, a chuck-and-scrawler and food truck simulator from Ashwin Kamath and Rob Newton.

How does it perform? We’ll wait in line together.

I'd eat there.

Ah, my dream job. (This is a lie.)

When Chicken Fried Dice opens, you have a food truck not unlike the rolling disaster from Jon Favreau’s Chef. In the language of dice, that means your options are limited, confined to a few rerolls, the ability to “chop” a die to divide a large number into two smaller numbers, and dousing an ingredient in sauce to make it seem like something else entirely. Ah, the secrets of the trade. I always suspected that if I slathered a bread crust in non-gluten barbecue sauce, I could legally label it GF.

Those tools are essential. On the surface, Chicken Fried Dice is another roll-and-write. You roll some dice, you write down their digits.

But what sets it apart from the competition is how thoroughly you can knead those rolls. For one thing, this is a simultaneous game. Everybody begins by chucking a handful of dice into a shared pot, then fishing them out one at a time. It’s possible to work fast to secure the best ingredients for yourself, but this is rarely easy. See, for instance, the aforementioned methods for altering your rolls. Getting what you want is often possible, but may require some trimming and/or a dash of luck.

Especially that owl. Get outta here, ya jerk. We don't serve your kind. (Owls.)

I have never resented an anthropomorphic animal more.

Even more persnickety, though, are the customers lined up outside your truck. I hate them. Everybody hates them. At their most basic, each customer has a list of ingredients they want in their meal. Say, peppers, broccoli, tofu, and more peppers. The first problem is that these represent portions. Each color has to match, of course — bring on the sauce — but each successive digit must also increase, or at the very least match what came before. This turns every order into its own ramen bowl of competing portions, ingredients, and custom instructions.

Naturally, providing customers with their desired meal is how you score points, but there’s so much more to it than that. Customers are willing to stick around between rounds, but the point-earning stars they’ll award your truck diminish over time. Worse, the picky jerks may leave a tip, but only if certain spaces meet their approval. Sometimes this isn’t such a bad thing, like when a number near the bottom requires a low digit. But what about when the bottom-most space demands a 4? And the order is five stonking ingredients long? And the customer doesn’t intend to stick around for more than a few minutes?

As with the best roll-and-writes, Chicken Fried Dice very quickly becomes a game about identifying and enacting one’s priorities. Not every customer will get served, so choosing the best clientele is a must. Those meager tips likely won’t let you improve every station of your food truck, so it becomes necessary to shore up your weak points. Depending on who you feed, little bonuses become available. Free ingredients, various flavors… I’m not sure what’s happening here, because it seems a lot like we’re carving haunches out of satisfied customers to feed the next group, but it does make for some nice combo-building. As your food truck transforms into the renovated sandwich wagon from the latter half of Jon Favreau’s Chef, it becomes possible to serve more and better meals.

It's very hard to not say the f-word during the chuck n' pluck phase.

Chuck and pluck!

The whole thing is a delight. The race to nab dice works in part because it’s harried but not overly punitive. Barring the occasional bonus, players are only allowed to grab four dice, so it’s rare to find yourself under too much pressure. Upgrading your work stations offers tangible improvements, and we have yet to play without someone showing off the name they invented for their truck. The complexity level can be adjusted, with two modes for using the bonus “flavors” provided by customers, whether a simple cluster of four tracks or a more open-ended picnic minigame. The dice-chopping has even provided a nice way to get my twelve-year-old to think about algebra beyond the confines of her math class.

Oh, and the solo mode is nice. Every truck has a reverse side that shows a different puzzle boss to beat, sort of like the uppity food critic from Jon Favreau’s Chef. I haven’t seen them all yet, in part because the prototype wasn’t content-complete, but the ones I’ve tackled have struck a nice balance between putting up a challenge and affording the player a measure of control over the rival trucker’s moves.

Is it a perfect game? Oh, I dunno. It’s a little airier than I prefer, a little more limited, especially when it comes to things like the upgrades. More often than not, it’s possible to upgrade the entire truck in those five rounds, making the game feel more boxed-in than some of my favorite exemplars of the genre. Chicken Fried Dice is a light game, but not so light that there isn’t some crunch mixed into its rice bowl.

This morning I had this image open on the computer while I was getting my six-year-old ready for school. She ran over to it and declared, "Aw, Daddy, I love that angry cat!"

There are five solitaire bots. Or there will be. The prototype only had a few of them.

The short version is that Chicken Fried Dice is something I would play with my sister’s family. They play plenty of games, but require a curated middle ground, neither too light nor as brain-burny as The Anarchy or Fliptown. This is that sort of game: silly but not off-putting, cutely thematic, mathy but not frustratingly so, breezy without zoning me out. To sum it up with a quote by John Leguizamo from Jon Favreau’s Chef: “I’m putting a little corn starch on my huevos, man.”

 

A prototype copy of Chicken Fried Dice was temporarily provided by the publisher.

(If what I’m doing at Space-Biff! is valuable to you in some way, please consider dropping by my Patreon campaign or Ko-fi. Right now, supporters can read about which films I watched in 2025, including some brief thoughts on each. That’s 44 movies! That’s a lot, unless you see, like, 45 or more movies in a year!)

More than half of board game designers in TTGDA survey have used generative AI in their work

27. März 2026 um 16:29

More than half of board game designers responding to a Tabletop Game Designers Association member survey say they have used generative AI for some elements of their work.

About a quarter of the 171 designers who answered the TTGDA survey said they had used a genAI platform to come up with game ideas or mechanisms – while more than half indicated they were ‘strongly opposed’ to using AI in that way.

TTGDA – a professional organisation launched in 2024 to advocate for tabletop game creators in North America – asked designers about seven use cases, comprising:

● Coming up with ideas for games or mechanisms
● Writing placeholder text
● Writing text for the final version of a published game
● Editing or proofreading text
● Making placeholder art
● Making art for the final version of a published game
● Creating marketing materials for a game

The organisation said that while 28% of respondents were ‘strongly opposed’ to all seven use cases, almost a fifth were not strongly opposed to any of them, with the remaining respondents offering a mix of use cases they consider either acceptable or not.

Image credit: The Tabletop Game Designers Association

TTGDA’s report of its findings stated, “In the free-response section of the survey, multiple designers said that the process of chatting with the AI particularly helped them better articulate their own goals or ideas for a game.

“One said, ‘It’s like asking another human who may not know much about games. They know enough to at least bounce a couple ideas, which ends up with me getting to where I want to go’.

“Several designers who had tried asking generative AI platforms to come up with its own ideas described the material they got from the AI with terms such as ‘derivative’ or ‘slop’.

“One designer said that when they tried to prompt an AI for ideas, the AI recommended inappropriate mechanisms from mass market games, like ‘lose a turn’.

“Some said that a fraction of the output from their prompts would contain nuggets of useful ideas or angles that were worth considering.”

The results for use of AI art in final products were much more clear cut, with roughly four out of five respondents ‘strongly opposed’, and only two respondents out of the 171 saying they either regularly or occasionally generate art with AI that they plan to keep in a final game.

Many more designers (30%) were accepting of using AI to generate placeholder art for their designs – but 39% of respondents were ‘strongly opposed’ to that use.

TTGDA’s report cited one respondent as saying, “Publishers want pretty prototypes and the AI art makes me better able to illustrate the narrative direction and make play less boring than it would be with black and white words or “close enough” illustrations. Some of the games I am working on have no illustrations in the real world that anyone has done and if I wanted those I would have to pay artists which I cannot afford to do.”

Image credit: The Tabletop Game Designers Association

But it added that other designers said AI assistants had failed to create usable placeholder art in response to their prompts, with several saying that after trying AI-generated placeholder art they had returned to clipart and other online searches.

TTGDA said that when asked how they feel about publishers using AI for placeholder art, 40% of respondents said they would be ok with it, but 29% would like to contractually prohibit it and another 31% said they ‘don’t like it, but wouldn’t really fight it’.

The report added, “Of all the AI uses that the survey asked about, editing and proofreading had the lowest
number of ‘strongly opposed’ responses, at 35% for personal use and 30% for publisher use.

“About a quarter of designers (28%) are using AI to edit things they’ve written at least occasionally.

“Some designers gave examples of AI not working well as an editor for their games, saying it ‘made the rulebook worse’, or ‘creates more problems than it solves’.

“The problems they described included hallucinations and inappropriate tone. Designers also raised concerns that publishers might use AI for proofreading without a final human check, leaving the game vulnerable to errors.”

TTGDA also noted that more than 80% of respondents did not want publishers to use AI to generate marketing materials for their games, with multiple designers commenting that they were turned off by the use of AI in content creation around games, and will not work with influencers who use genAI in their workflow.

The report noted that of issues raised by designers when asked about their concerns around AI, “the most commonly voiced concern was that current generative AI tools are based on plagiarism, because they were trained on art and written materials without the creators’ consent.”

It noted, “Many said things like, ‘All uses of stolen material are problematic’. Multiple designers also mentioned that they want contract language that will prohibit a publisher from allowing AIs to be further trained on their game materials.

“The next most common concern was AI’s high environmental cost. A ChatGPT request uses ten times more electricity than a typical Google search (2.0Wh vs 0.3Wh). Other impacts include the use of rare earth elements, mercury, and lead in data center equipment; and the use of large amounts of water for cooling.

“Some designers worry that AI could flood the market with bad games. One designer thought it would be easy for unethical publishers to quickly create ‘clones that are slightly different’ and crowd the games they are copying out of the market.

“Another designer worried that ‘AI is great at making things that look like games for crowd funding campaigns, but without actual rules that make sense’.

“The general sentiment from these and other designers was the worry that in a market where it is already difficult for a game to stand out, these practices will only make it harder.”

Recent Repercussions

TTGDA’s report comes just over a month after Ryan Dancey, a more than 30-year veteran of the tabletop gaming industry, lost his COO job at publisher Alderac Entertainment Group after saying AI could generate game ideas as good as his company’s titles Tiny Towns and Cubitos.

Dancey said Alderac CEO John Zinser told him it was time to “move on to new adventures” in the “aftermath” of his LinkedIn post discussing the use of AI in board game design, which quickly attracted a flurry of negative comments from tabletop designersAEG’s business partners and bodies such as the Tabletop Game Designers Association, as well as board gamers across social media.

Wingspan designer Elizabeth Hargrave, the co-founder of TTGDA, dismissed Dancey’s suggestion when speaking to BoardGameWire the day after his departure from AEG.

She said at the time, “I absolutely do not think AI could be prompted to come up with even the basic idea for those games, let alone a fully fleshed out ruleset for them. For fun, I’ve prompted several different options for ideas for Wingspan cards and not one of them has given me an actionable idea.

“I had a friend who ran a rulebook through AI for proofreading and it hallucinated that people needed to shout ‘bingo’. Apparently that’s AI’s conception of board games right now.”

She told BoardGameWire at the time that the TTGDA board had been discussing the use of AI in board game design, adding that it was “a conversation we need to have with our membership”.

Wingspan designer and TTGDA co-founder Elizabeth Hargrave

She said, “We’re working on a model contract to offer to our members right now, and that will offer a clause that designers can request that will require publishers not to use AI in their final product. A lot of contracts ask us to certify that a board game design is our own, and not plagiarized.

“It’s my opinion that using AI in a final product goes against that, because it’s using a machine that’s built entirely on plagiarism.”

Hargrave added last month, “I do see people using AI for things like generating a bunch of placeholder names in a prototype. They’re often clunky options but they do the job when you know everything will change 50 times before you’re done anyway. I’m not aware of anyone who has successfully actually gotten good, original ideas for mechanisms from AI.

“What I wish we were talking about is how AI could be built to help designers run models of their games repeatedly to catch weird edge cases or broken strategies. I wish someone would build that tool instead of the language models that just focus on advanced auto-complete.

“This would never replace actual playtesting with humans for psychology and actual fun, but it might save me some repetitions.”

The TTGDA survey noted that one of the most common additional uses mentioned was as a source for help with probability, mathematics, and thinking about balance.

It said, “In some cases, designers are having the AI write spreadsheet formulas that they then use to do calculations in the spreadsheet. In others, they are simply asking the AI to do calculations.

“However, nearly as many designers said they had quite poor results with asking LLMs to do math, reporting errors and hallucinations. For example, one designer who used ChatGPT to calculate detailed probabilities (e.g. how often a certain set of cards might appear in a starting hand) said when they checked the results, they were wrong ‘roughly 1/4th of the time’. Another called ChatGPT ‘surprisingly bad at maths’.”

Last week board game publisher Awaken Realms responded to a wave of anti-AI art review bombing for its upcoming crowdfund, Concordia: Special Edition, by saying no AI-generated imagery will be used in the finished game.

Awaken Realms is one of highest-profile tabletop publishers to confirm it uses AI image generators, with other notable adopters of the technology including Stronghold Games – which attracted significant ire for its use of AI art in its $2.2m More Terraforming Mars! crowdfunding campaign.

The technology has been widely criticised by artists angry that the models are built upon their work without licensing or recompense, in addition to outcry over its environmental costs and threats to jobs in the creative and other industries.


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GAMA unveils board of directors election winners, current president and secretary re-elected to board

27. März 2026 um 15:18

Editor’s note: GAMA is one of the sponsors of the BoardGameWire newsletter

Hobby games trade organisation GAMA has revealed the winning candidates in its latest board of directors election, with the organisation’s current president and secretary both retaining their board seats.

President Nicole Brady, who runs review site SAHM Reviews, was re-elected to the board by GAMA’s media and events member group, while treasurer Tiffany Reid from Southern Hobby Distribution won re-election from the wholesale group.

Current GAMA secretary Jamie Mathy – who runs game store Red Racoon Games – was re-elected by the organisation’s ‘Team Retail’ group alongside Red Claw Gaming’s Lea-Anne Welter, while David Wheeler from Dragon’s Lair and Boyd Stephenson from Game Kastle were also voted in as retailer representatives.

One of those four will be selected by Team Retail to fill a retailer seat on the GAMA board of directors, with all successful board candidates working for a two-year term.

The other newly elected members of the GAMA board are Michael Maggiotto Jr, who was selected by GAMA’s production members, Heather O’Neill from 9th Level Games representing publishers, and LegalWATCH’s Eartha Johnson from the creator membership group.

The GAMA Board of Directors is comprised of twelve individuals elected to represent the six voting membership groups, with half of the cohort up for election each year.

That board in turn elects GAMA’s four officers – president, vice-president, treasurer and secretary – each year.

Current GAMA president Brady has been in her current officer role since May 2024, having previously been treasurer of the organisation from the end of 2022.

GAMA President Nicole Brady

Brady has been a key driver of GAMA’s current plan to become the “epicentre” of global tabletop gaming, underpinned by the organisation unveiling its first-ever 10-year plan last October.

The array of plans spread across the next decade include boosting its membership within both hobby games and the mass market, expanding itself into a global organisation, shifting its finances away from the current heavy reliance on the annual GAMA Expo and Origins shows, and leading the conversation on sustainability within the industry.

Advocacy and brand protection is also one of its near-term priorities – underscored by the organisation’s recent intensive lobbying and awareness efforts around the impact on the industry of US tariffs.

Those efforts included multiple trips to Washington DC to lobby politicians, conducting dozens of media interviews to highlight the devastating impact of tariffs on the hobby, and supporting two lawsuits disputing Trump’s power to set the tariffs without agreement from the US Congress.

Brady told BoardGameWire earlier last year that the move was an attempt to get the organisation away from “playing whack-a-mole” on important issues rather than managing them in a long-term strategy.

GAMA is currently working to secure a permanent replacement for its previous executive director John Stacy, who left the association last October just after the 10-year plan had been revealed.

Leadership consultant Zaria Davis was named as interim executive director last November.

Earlier this month GAMA’s board of directors apologised for some of its elected leaders being “rude and disrespectful” during a “heated” annual general meeting at the recent GAMA Expo trade show.

This year’s GAMA Expo sealed another record attendance, ahead of its planned move to Baltimore in 2027 to contend with rapidly growing demand.

More than 3,820 attendees showed up to this year’s event in Louisville, Kentucky, up almost 12% on last year’s previous record of 3,425 – which had already left the show pressed for space across the exhibition hall and its extensive programme of seminars.

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Neuroshima Hex Game Review

Neuroshima Hex has known three previous editions, each ultimately widening the pool of available factions and improving on what was already a very good design. Now, on the occasion of its 20th anniversary, publisher Portal Games has rebooted the line again. Blessed are we who live to see such times. Finally, you can own a base set of Neuroshima Hex with a box that doesn’t look like absolute butt. Aesthetics was never the point of all this, but goodness.

Inside that box, you’ll find four factions’ worth of tiles with which to play this marvelous game. Do the tiles look better? Listen, there are limits to what you can manage when designing a game that has to convey a large amount of information in a small amount of space. Do the tiles look good? No. Do they look bad? No! They’re a miracle of legibility. Don’t worry about it.

The basic idea is pretty straightforward: on your turn, you draw up to three tiles, discard one, and then play, discard, or save the others. Your tiles are a mix of Troops that attack and hinder your opponent, Modules that provide buffs and debuffs to the pieces on the board, and Actions, which can do all variety of things depending on the faction. As the game progresses, the board gets…

The post Neuroshima Hex Game Review appeared first on Meeple Mountain.

Video Review: Crisis: 1914 from Worthington Publishing

Von: Grant
27. März 2026 um 13:00

Crisis: 1914 is a game of international brinkmanship – if you back down too soon, you lose. If you back down too late you lose. But you have hawks and doves in your cabinet and in your government, and out of these conflicting views you must somehow formulate a coherent response to the crisis to win the day and prevent war.

There are 3 interrelated concepts at the heart of Crisis: 1914: Prestige, Tension, and Diplomatic Pressure (DP). Diplomatic Pressure (DP) is how you score Prestige. Tension is how you lose. Every card has a DP value. You apply DP by playing cards. The player with the most Diplomatic Pressure at the end of a turn earns Prestige points. There are other ways of scoring Prestige points too, but this is the most important one. Prestige is how you win. The player with the most Prestige at the end of the game is the winner.

We published an interview on the blog with the designer Maurice Suckling and you can read that at the following link: https://theplayersaid.com/2023/07/12/interview-with-maurice-suckling-designer-of-crisis-1914-from-worthington-publishing-currently-on-kickstarter/

Also, in a lead up to the game’s release, I worked with the Maurice to do the following Event Card Spoiler posts:

Crisis: 1914 Event Card Spoilers with Designer Maurice Suckling – Series Introduction and General Mobilization Cards

Austria-Hungary, Part One

Austria-Hungary, Part Two

Russia, Part One

Russia, Part Two

Germany, Part One

Germany, Part Two

France, Part One

France, Part Two

Britain, Part One

Britain, Part Two

Britain, Part Three

While this game is not necessarily a wargame, but more of a war themed Euro game with a bit of negotiation and tension as you build your tableau of cards, we had a great time with it and really feel that the game is a bit under the radar of folks and should be one of those games that is played at conventions as it seats up to 5 players and is really quite good.

-Grant

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