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Codenames makes Netflix debut after streaming giant approached CGE for licence – then hired it to develop the game instead

Czech Games Edition‘s huge-selling word guessing game Codenames has made the jump to Netflix, with the publisher developing a new digital version of its biggest-selling title for the streaming giant’s push into TV-based social gaming.

CGE told BoardGameWire that Netflix originally approached it about licensing Codenames, before changing tack and asking CGE to develop the digital version itself after trying out the publisher’s existing mobile app for the game.

Codenames Party can be played by Netflix subscribers through their TV by using their phones as controllers, and includes a new ‘party’ mode allowing up to 10 people to compete as individuals rather than in teams.

The deal provides a new source of players for a game which is already closing in on 20 million physical copies sold, a CGE spokesperson told BoardGameWire, adding that “the branding benefits and opportunity to reach a new audience” were important to the publisher.

Codenames and its spin-off titles already account for about 80% of CGE’s annual sales – although company marketing manager Ondřej Skácel told Czech business publication CzechCrunch the new deal would not transform CGE financially, saying revenues from the tabletop version of Codenames remained on another level.

CGE was paid to develop the Netflix version of the Vlaada Chvátil design, and will also receive ongoing licensing payments, that report added – with Skácel telling the outlet “at first, we didn’t believe it and thought it was some sort of hoax” when Netflix got in touch.

Codenames Party on Netflix

Codenames Party’s visual style has prompted questions from some players about whether generative AI was used in its creation – something CGE strongly denied to BoardGameWire.

The spokesperson said, “There are no AI assets in the game or in marketing materials. We saw those comments, but we want to clarify that the new art style was made by illustrators and graphic designers who spent countless hours on it.

“In general, we use human graphic designers and illustrators on all our projects. We’re in turbulent times, but we’re still enjoying the whole ‘old-school’ process of making games.”

CGE also left open the possibility of bringing more of its games to Netflix or similar platforms, telling BoardGameWire, “We’re always open to any new opportunities. If we find a good fit with our games and the specific platforms, we would definitely consider it.”

Codenames was first released by CGE in late 2015 and quickly became an international hit, winning the coveted Spiel des Jahres prize the following year.

The game has since spawned a string of spin-offs and licensed editions, including Codenames: Pictures and two-player cooperative version Codenames: Duet.

CGE has increasingly experimented with bringing Codenames into digital formats, beginning with the free browser-based Codenames Online in 2019 before launching a mobile adaptation developed by its CGE Digital team in 2024.

That app, which clearly made an impression on the Netflix team, introduced asynchronous multiplayer, matchmaking, progression and new game modes rather than simply recreating the tabletop game.



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Academic conference puts board game sustainability, environmental theming and more under the microscope

An academic conference exploring everything from publishers’ environmental claims and sustainable manufacturing to Pokémon card investing and onboarding new players is set to kick off tomorrow, as researchers examine the many interpretations of this year’s theme ‘Green’.

The free online Generation Analog 2026 event has been organised by Analog Game Studies, a quarterly journal dedicated to studying games with a substantial analogue component, and Game in Lab, an academic research grant programme co-created by Asmodee in 2018.

While many of this year’s presentations explore environmental issues, the conference’s broad ‘Green’ theme also encompasses topics including newcomer experiences, representation, identity, game history and design philosophy.

All of the talks are set to be recorded and made publicly available after the event, which takes place on July 15 and 16.

Example sessions include Plastic Dystopia: Ideas towards More Sustainable Miniaturing Practices, which aims to propose new ways of minimising the ecological footprint of the hobby, and How Green Is Green Play? Gamewashing in Analog Board Games, examines what the researchers describe as “gamewashing” – where environmental themes or sustainability messaging may not be reflected by a game’s actual mechanisms or player experience.

Several sessions examine how environmental themes are represented in commercial games, while Daybreak co-designer Matteo Menapace will be providing a keynote speech discussing the Kennerspiel des Jahres-winning title and how its realistic and utopian theme can be an antidote to capitalist realism.

Elsewhere, researchers from the University of York analyse five published climate change board games, arguing that many reinforce solutions rooted in existing economic assumptions rather than encouraging players to foster deeper engagement with the colonial and capitalist roots of the climate crisis, while another presentation explores how the relations between humans and animals are depicted in Uwe Rosenberg’s design Atiwa.

The full schedule for the conference is available here, and anyone interested in registering to view the panels and keynotes can do so here.

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