Stop whatever you’re doing. Just stop. I need to tell you about one of the weirdest, wildest, and most interesting board games I’ve played all year. Scratch that. Ever. That’s right. Ever.

This is Grinivil. It was designed, illustrated, and published by Rudy Priecinsky. It’s tempting to lob a jab in there — “I can tell!” hardy har — especially once you get a look at the scattershot rulebook, the potato-headed character portraits, the mishmashed card layouts, the box itself… okay, as soon as you get a look at pretty much anything it has to offer.

But don’t make the easy joke. Set that aside. Because Grinivil is a gift from a parallel universe where Eurogames are never wrung dry through market testing and impersonal development, but instead allowed to blossom into bespoke artifacts that are equally uncanny and compelling and inventive. This is Grinivil. It’s breathtaking.

When Grinivil begins, Grinivil — the town the board game is named after — has been thrown open to new development. As towns go, Grinivil is small. Actually, I’m not even sure it qualifies as small. The municipality has started construction on a few things, drawn at random, but they’re as yet unfinished. There are plots for houses and additional commercial spaces, but nobody has filled them. Even the trees have yet to be planted. If Grinivil were deposited in the Old West, they wouldn’t have the livestock to qualify as a one-horse town.

But where there’s a vacuum, there’s opportunity. As a developer, you’re here to buy and sell land, construct amenities, and finagle clients into houses.

It’s a normal enough pitch, in other words. Maybe even an unexciting pitch. There are plenty of board games about real estate, and Grinivil doesn’t sound all that far off from titles like Rebuilding Chicago, The Estates, or Magnate: The First City. Tough competition. Solid games. Good bones.

But it takes Grinivil all of ten seconds to set itself apart as those titles’ spiritual opposite. For one thing, there’s the way the game looks. And I promise I’m not about to ding it. Quite the opposite. Grinivil’s earliest state, when it’s nothing more than a traffic loop and a few partially-constructed buildings atop a single pizza-slice of land, is full of potential. You can see what it might become after some walls have been put up and a few trees have been planted.

What’s more, those walls and trees mean something. They signify investment. When you add a floor to a building, you mark it with a piece of your color. Now that isn’t just the second story of a bowling alley or the foundation of a house. It’s your share in the bowling alley. It’s your ability to profit off the sale of the home. Those trees are bumps in property value. That road, now paved, is a sign that a new portion of the town is open for business.

And it isn’t only your investments you’re interested in. It’s everybody else’s, too.

Let’s approach it from another angle. Turns.

Turns in Grinivil take place on the Time Action Ring, also called the TAR. The TAR is a rondel. Starting at the top-left, you move your pawn clockwise around the TAR, stopping at any action you want to perform. You know. It’s a rondel. It behaves like most rondels.

There are a few wrinkles to this process. First and foremost, most actions, once completed, will move you forward an extra space or two. (Or three or four.) Sometimes this bypasses another action you were hoping to take. Fortunately, you can pay cold hard cash to move fewer spaces. If pouring that foundation will move you forward three spaces, therefore passing the space you were hoping to use next turn, you can pay some money to move a little less.

That’s not all. Unlike some rondels, which limit movement, here you’re allowed to visit any space. You can even circle the entire TAR in a single move if you so desire. The limitation is that passing Go will not award $200. In fact, the opposite is the case. Whenever you pass the space at the top left, you pay both taxes and your workers. Taxes, now, that’s a flat rate. But workers consume a few bucks apiece. If you don’t have any workers on the table, whether constructing a building or squatting on an ability space on the TAR, that’s not the biggest deal. But if you have three workers out, it suddenly behooves you to stretch your time on the TAR as much as possible.

And then there’s the real highlight: the actions themselves. Put simply, Grinivil offers some of the coolest actions I’ve seen put to a rondel. Some are fairly routine, like buying or selling resources, but others transform the state of the board in ways that are hard to describe without seeing them in action.

You might, for example, add a wedge to the map. This costs some money and awards a few points. Far more importantly, it gives you ownership over that wedge. Basically, you’re speculating on land. Now whenever anybody wants to build on that land, they’ll be paying a premium for the opportunity.

Or you might turn victory points into cash. Points are the game’s objective, of course, but they don’t really matter until the end. So why not turn them in for walking-around money? This isn’t the first game to feature such an option, but it’s the only one where I’ve seen players accept that devil’s bargain. Sometimes multiple times. If you’re still short, you could also collect unemployment for all the workers who aren’t currently out there collecting a wage, or host an auction and collect the proceeds, or flip all that timber and concrete for more than you spent on it.

Or you could alter the rules altogether. This is mostly the domain of abilities, spots on the TAR that must be occupied by one of your workers. This uses up the worker — and you’ll have to pay them, of course — but gives you that space’s perk until you loop back around to it. To a one, these are ridiculous. There’s the Manager, who removes the need to spend extra time on the TAR. As in, that entire portion of the game is just deleted. Or there’s the Architect. She lets you use any resources when building rather than using specific materials, letting you pass off concrete monstrosities as homes or build a pet store out of nothing but cheap steel. So much for the game’s inventory management! The Banker gives you three coins per turn. Just gives them to you. The Ecologist — my group calls him Treesus — does something similar, adding periodic trees to your inventory.

Surprisingly, the most foundational action, construction, is anything but perfunctory. As you might expect, construction is where you spend materials to add a floor to the map. But it’s also so much more than that, inserting players into the overgrown thicket of incentives that is Grinivil’s principal draw. More on that in a moment.

It might sound like the efficacy of these actions is game-breaking, but in practice it really means that every decision carries considerable heft. On any given turn, you’re presented with a wide-open decision space between three or four tremendous opportunities. Sometimes a shortfall can be covered by having the right resources on-hand, and it isn’t unheard of for an action to become better thanks to a cash infusion. But the real cost is always paid in the opportunities you passed by on your way to something else.

Nowhere is this more evident than in the game’s residents. Grinivil, at its core, is about attracting newcomers to town. Each resident has a number of needs, some underlined in red, others more negotiable. When the game begins, you have two in-hand. There’s also a display of additional cards that can be acquired or swapped out.

Here’s an example. When you first sit down to play, you could be holding Miriam and Nela. Both are worth some points, but Miriam will pay a bunch of cash if her house is on a lot with many trees, whereas Nela is willing to pay a flat rate. Okay, simple enough. So Nela is easier to place on undeveloped land, right?

Sort of! Both also have some hard-coded requirements. Miriam won’t move in unless there’s a grocery store within three spaces of her new home and a bus stop somewhere in town. Nela, meanwhile, isn’t too picky about distance, but wants a pet store and a garden center. When placed, they also provide bonuses. If there’s a playground within two spaces, Miriam will award a few extra points. She’ll also pay a premium for a nearby garden center, giving her some overlap with Nela. For her part, Nela wants a library and a music venue. Deep breath: They also provide end-game bonuses. Miriam wants a hospital in town. Nela insists on a police station.

Here’s the thing. Call it a double-edged sword. Like everything in Grinivil, residents pose a certain hurdle. Their cards are, charitably, a mess of information. Less charitably, they’re just a mess.

But that mess, apart from being somewhat hard to untangle visually, is important, because it’s how everything gets evaluated. When you house a resident, each of those boxes tells you something different. The top box is how many points and coins they give you right away. But everything underneath that, all three boxes of potential rewards, are awarded to whomever owns the thing in question. If I built the garden center for Nela, and then you later welcome Miriam to town, I get the cash for her proximity to the garden center even though you played the card. If I own two of the hospital’s three floors, then two-thirds of Miriam’s fifteen end-game points are mine, even if I never so much as glanced at her until the final tally.

This makes Grinivil a stern plaything indeed, but it’s always fair in its unfairness. There’s hidden information, but not so much that it can’t be overcome with watchfulness and shrewd investments. There are few guardrails, but open-ended actions and a few dashes of chance make it possible to wrestle out of tight spots.

Which isn’t to say that these rough edges can’t prove frustrating, especially during the first play or two. Once, a player’s early investment in a water treatment plant — and we’re talking about their third or fourth action, maybe fifteen minutes into a two-hour session — translated into a game-winning swing when a half-dozen residents all insisted that their town have potable water.

The beauty of Grinivil, though, is that this was entirely our fault. The table’s fault, I mean. Mine. My co-players’. Because as soon as that rival invested so much in clean water, we should have shifted our priorities. No more residents who care weirdly a lot about their drinking water being certified amoeba-free! Only cop-loving residents, or residents who insist on accessible hospitals, or residents who hang out at churches and retirement communities.

Or, perhaps, we could have ensured that our game-ending tally was dwarfed by residents whose earlier payouts were sufficient to overcome any final swings. There are many ways to earn points in Grinivil, and just about as many ways to invest one’s attention and money.

In all cases, though, this is a game that benefits from both experience and table-talk. It’s a game where it’s not only not impolite, but necessary to say, “Hey, let’s stop attracting so many residents who love the aroma of water being treated.” In that sense, Grinivil is a game about cutting through the clutter to see what’s really important. (And boy howdy is there clutter, hardy har!) It’s about reading the state of the table, about observing which properties are likely to pay off big and which might only be worth a little bit here and there. It’s about watching your opponents and knowing when to feed the animals and when to hold back. Sometimes, it’s even about snaking somebody’s investment by paying a pittance to slap a roof atop their house and hustle one of your residents inside before they can protest.

I like a polished game. But we’ve reached the point where too many games are polished. Some are so polished, I’d say, so devoid of rough edges, that there’s nothing left to snag one’s attention.

Grinivil is the other thing. Snaggy and shaggy. Some of its actions don’t have immediate utility; others are so potent that it’s impossible to choose between them. Sometimes a corner feels too painted-in. Its art is, um, undeniably not crafted by a plagiarism engine. Personally, I like how it looks. Not only the town, which is gorgeous, but the wackadoo resident cards. Just look at those nerds. I love them like my own ex-girlfriends.

For all of that — or more likely because of it — Grinivil is captivating. As in, it captures and holds one’s attention the way no number of over-smoothed experiences possibly could. It grabs your elbow, shows you the dance floor, and asks you to move. Then it probably shouts at you a little bit, before apologizing and rumpling your shirt and tucking a buck into your back pocket. No matter. This artifact, this singular vision, this gift from another dimension, is so spellbinding that it reminds me why I started playing board games in the first place.

 

A complimentary copy of Grinivil was provided by the designer and 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, my third-quarter newsletter is open to all.)

Ah, Captain’s Chair. I’ve already logged my appreciation of Nigel Buckle and Dávid Turczi’s remapping of Imperium into the Star Trek universe. Like that series, now sadly defunct thanks to the shuttering of the board-gaming side of Osprey Games, this is an information-dense deck-builder that absolutely revels in its moreishness. Quite literally. It features more icons, more decks, and more chrome-laden rules per cubic micron than any other deck-builder I can recall.

Now there’s a second-wave box, To Boldly Go. If you’ve played the original, you know what to expect. Seriously, newcomers can just read my previous review.

I really wasn’t bluffing. I’m not about to spill anything new. OR AM I? Look at me, playing like Q.

For the most part, To Boldly Go repeats the accomplishments of that original set, featuring six new captains who can either be commanded in one of the game’s default duels or faced as an opponent in the (excellent) solitaire mode. As with Imperium, these decks are what make Captain’s Chair Captain’s Chair. Like an unassimilated technological and biological lifeform, they’re distinct.

How distinct? Distinct enough that there’s good news and bad news.

First, the good. The captains in To Boldly Go are even more dissimilar than those in the base box. Even the ones that are relatively “baseline,” like Soval, Philippa Georgiou, and the long-awaited James T. Kirk feel different on the table. Having served as an ambassador to Earth, Soval fuels his abilities by dismissing them as a species — in game terms, by literally chucking them out of his hand. Which is a bit of a double-edged ability, since he wants to fill his deck with enough exemplars of mankind to keep his better abilities churning. Kirk, meanwhile, is an all-rounder, forced to emphasize the game’s various flavors of influence equally. The flipside is that, as the grandfather of this galaxy, he’s more likely to draw encounters, the ultra-powerful scoring cards that most captains only see one or two of throughout an entire session.

The other captains are wackier, and I mean that entirely as a positive. Khan breaks the game’s usual rules, dispensing with the customary science/diplomacy/military track to instead mind-control a diverse crew and start shouting Moby Dick quotes at his enemies. No, really. He has Moby Dick quotes. Archer, being the flashback character, starts with a deck that fits in his starting hand and nearly no away team tokens for conquering planets. Instead, he has to rush to form the Federation from scratch, giving him some incredible early-game momentum but the testiness of having to forge synergies from first principles. And then there’s Rebner. I haven’t seen a single episode of Lower Decks, so I have to trust Buckle and Turczi when they inform me that Rebner’s whole deal is that he’s a total moron. He draws only three cards per turn, can’t utilize science or diplomacy at all, and his cards get stronger as they find and don big hats.

Actually, Rebner has become my object lesson for To Boldly Go at large. He’s a total hoot to play, and moreover he’s forced me to embrace a portion of the game I’ve always tended to overlook. Returnees to Captain’s Chair might already know what I’m talking about. In the market, there are four main decks that players can freely recruit from. Three of those decks — people, ships, and allies — offer immediate utility. The fourth, the one called “cargo,” has always been a little trickier to use. These are special items that… well, they do all sorts of things. Which is both the value and the drawback of cargo. You’re never quite sure what you’re going to get. Most function as attachments, things you can merge with other cards to bestow new abilities. But they aren’t always that, and sometimes their wilder effects can be more trouble than they’re worth.

Rebner, with his crew’s emphasis on securing and wearing fancy hats, makes cargo a necessity. His starting deck has a bunch of hats, both in its starting pool and for later recruitment, a stark contrast with most captains who might have one or two tucked into their reserve. What’s more, a couple of additional hats can be found in the cargo market deck. They get a “helmet” tag and everything.

But that reveals an issue with To Boldly Go. More specifically, an issue with merging To Boldly Go with the original Captain’s Chair and any forthcoming sets.

In short, the original game didn’t contain any helmets. Which means that poor stupid Rebner is going to have a heck of a time finding any hats for his crew when using the original Captain’s Chair market, whether on its own or blended with the offerings from To Boldly Go.

Of course, the issue is broader than a shortage of hats. It’s that each captain has their own objectives to pursue, and these objectives often require them to dive through the market for specific keywords. Some of these tags are standardized across sets. Roughly half the card pool has been duplicated from the original box, and there are always plenty of humans, Vulcans, and Klingons. For captains who need specialized tags, merging or crossing-over sets just became a testy proposition.

This isn’t to say the issue is a dealbreaker. Nor that it presents an intractable problem. There have always been tools for rifling through the decks of Captain’s Chair, in particular the “scan” ability that allows players to search through a certain number of cards — even multiple market decks — to mine a specific keyword. It’s pretty rare that you’re beholden solely to whichever cards are currently on display.

But it highlights a certain jankiness to the system. Turczi has compared sets to drafting cubes. Captains function best with the cards in their box, not necessarily when merged across sets. Which, to some degree, makes the whole thing a little less appealing, at least to this guy. I’d much rather rest assured that I could have Kirk face down Koloth or Picard take on some theoretical third-wave Borg Queen without worrying about the composition of the market introducing its own subspace turbulence.

Because, yeah, Captain’s Chair is good enough, even with these bumps, that I want to keep exploring what it has to offer. Even at its most maximal — frankly, thanks to that quantity-is-quality — there’s a thrill to seeing how Buckle and Turczi can mine their deck-building system for new ways to express this particular setting. I loved the diversity of cultures in Imperium, that it was possible to have something sprawling like the Roman Empire throw down with the Olmec and the Inuit, each with their own cultural focuses, and still function at all, let alone present such a compelling contest.

Here, decks are even more distinct. Combined with the additional flexibility of a system that stretches further than its predecessor, the result is a game that keeps me coming back. Even when, on occasion, it frustrates me with its avalanche of icons, a lane-battler core that sometimes gets lost amid everything else, and now the persnicketiness of sets that don’t effortlessly merge.

Maybe this was always inevitable. As Imperium grew, that system faced similar aches and readjustments. Any growing pains are only compounded by the sheer enormity of what’s contained in each box. So much for balance; then again, it was always a remote possibility with decks as varied as these.

Either way, here’s to another Captain’s Chair. Going forward, I think I’ll boldly shuffle everything together, consequences be damned.

 

A complimentary copy of Star Trek: Captain’s Chair: To Boldly Go was 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, my third-quarter newsletter is open to all.)

German board game designer Mathias Wigge has pulled off an impressive feat at the Deutscher Spiele Preis – Germany’s biggest community-voted board game award – by winning with both of his first two standalone games, Ark Nova and Sanctuary.

Sanctuary claimed top spot in the annual award ahead of Pegasus Spiele’s commercial hit Boss Fighters QR and space tourism-themed worker placement title Galactic Cruise, which has already scored a string of major award wins.

The win also cements Feuerland Spiele‘s position as the most successful publisher in the Deutscher Spiele Preis since the company was founded in 2012, with four victories – twice as many as any other publisher over that period.

Feuerland scored an early DSP victory with Terra Mystica in 2013, before a flurry of three wins in eight years via Wingspan in 2019, Wigge’s debut design Ark Nova in 2022, and Sanctuary this year.

Feuerland managing director Stefan Rink told German broadcaster WDR after this year’s award ceremony that Sanctuary had already sold 20,000 copies in Germany, with the publisher hoping the award would provide a further sales boost.

The game, released in Germany as Artengarten last year, aims to offer a shorter and more accessible take on Ark Nova’s zoo-building and wildlife conservation theme, replacing much of the original’s card-driven gameplay with tile placement.

Feuerland also positioned the game at a lower price point than Ark Nova, with a recommended German retail price of €49.90 against €64.90 for the original.

The DSP victory is Sanctuary’s first major award success, having previously picked up a recommendation in this year’s Kennerspiel des Jahres prize and a nomination as Medium Game of the Year in BGG’s Golden Geek awards.

The win follows huge critical and sales success for Wigge’s predecessor design Ark Nova, which had sold more than 300,000 copies worldwide and racked up over 10 million plays on Board Game Arena according to a report from German newspaper Der Patriot in February this year – as well as being ranked in second place among all the titles on BoardGameGeek.

Runner-up Boss Fighters QR, designed by Michael Palm and Lukas Zach, has become a big sales success for Pegasus Spiele, which reportedly ordered the largest initial print run in its history for the game’s launch at Spiel Essen last year – and followed up with another record-sized print run to meet demand.

That title has already sold more than 100,000 copies in 17 countries according to German board game journalist Johannes Blumenberg, who runs the website Ministerium für Brettspielspaß.

The app-driven cooperative game spent six years in development, with Palm and Zach revealing that extensive work was needed to ensure its QR code scanning technology operated reliably and to develop the digitally controlled bosses.

The designers previously won the 2023 Spiel des Jahres with Dorfromantik: The Board Game, which also finished runner-up in that year’s Deutscher Spiele Preis behind Planet Unknown.

Boss Fighters QR was also nominated for this year’s Kennerspiel des Jahres, alongside Moon Colony Bloodbath and eventual winner Rebirth.

Galactic Cruise’s third place finish follows a striking awards run for the game, which was the first major release from US publisher Kinson Key Games.

The title, designed by TK King, Dennis Northcott and Koltin Thomson, had already been crowned Heavy Game of the Year at BoardGameGeek’s Golden Geek Awards in May, before taking Game of the Year, Best Strategy Game and Best Game from a New Designer at the Dice Tower Awards in August.

Galactic Cruise was a significant crowdfunding success for Kinson Key, raising more than $807,000 from over 8,000 backers through its original Kickstarter campaign in 2024, before securing another $769,000 for an expansion and reprint earlier this year. The game is published in German by PD-Verlag.

Last year’s Deutscher Spiele Preis went to Tomáš Holek’s space exploration game SETI, published by Czech Games Edition, which took top spot ahead of Endeavor: Deep Sea and Bomb Busters.

Other winners over the past decade have included Forest Shuffle, Planet Unknown, Lost Ruins of Arnak, The Crew and Azul.

Board game publishing and distribution giant Asmodee secured four places in the top ten of this year’s DSP – with Fate of the Fellowship, Take Time, Cozy Stickerville and Forest Shuffle expansion Dartmoor – although none of its releases broke into the top three.

Germany’s Frosted Games was represented twice, through Reiner Knizia’s Kennerspiel des Jahres winner Rebirth in sixth place and Star Trek: Captain’s Chair in ninth, while Kosmos took eighth with River of Gold.

This year’s children’s Deutscher Spiele Preis went to Wojciech Grajkowski’s Toriki: The Castaway Island, published by Mirakulus, ahead of Mooki Island and Paleolino.

The Deutscher Spiele Preis, which has been presented since 1990, is decided by public voting among players in Germany, Austria and Switzerland, rather than a specialist jury.

Organisers said “many thousands” of players took part in this year’s voting. Eligible games were released in German between May 1, 2025 and April 30, 2026, with the winners announced at the Spiel Essen game fair.

The post Two games, two Deutscher Spiele Preis wins: Ark Nova designer Mathias Wigge takes second title with Sanctuary first appeared on .

Whenever a game has a double-digit player count, there’s a 99.97% chance it involves social deduction. Now, I love social deduction games. They give you an excuse to break the social contract and lie to your friends and family, all in the name of fun. They’re also one of the few genres that let you discover just how good the people around you are at scheming and lying. Eventually, you start wondering if their name is even real. That said, I’m also kind of sick of every single large group game being dropped in the social deduction box.

Coalition: Council of the Republic sings a different tune here, focusing on negotiation rather than inevitable betrayal. Better yet, it’s team-based, with four teams competing for influence and potentially a few independents thrown in to make things even messier. Instead of simply figuring out who’s lying, you have to convince people to work with you, negotiate deals, cross your fingers while making promises, and figure out how long those lofty alliances will actually last. All of this in one hour.

Draft Laws, Not Friends

The story behind this is a little more complex than most. The country is suffering through political turmoil and demanding reform, so four teams are tasked with drafting new laws. Naturally, each team wants to push laws…

The post Coalition: Councils of the Republic Game Review appeared first on Meeple Mountain.

When she isn’t pretending to be a dragon, my seven-year-old pretends to be a cat. “Mrrrowrrr,” she says when she pounces on me in bed in the morning. “Raawwwrrr,” she purrs when it’s time for her to line up for second grade. “Grrrrrr,” she rumbles at bedtime, her bones suddenly transforming to jelly. If certain “news” articles were to be believed, we’d have a litter box in the bathroom.

So, as a surprise, I picked up Cats Knocking Things Off Ledges. Designed by Sen-Foong Lim and David Killing, it’s as descriptive a game as they come. My seven-year-old treats it as a tornado simulator.

On the surface, Cats Knocking Things Off Ledges isn’t meant to be a tornado simulator. Instead, it plays like a parallel version to Rhino Hero. Turns consist of three steps. First you expand your kitties’ playspace, adding one or two pillars and a single card, whether rectangular or circular, to create a new climbing platform. Second, your kitty leaps to a new space, managed by a pair of tweezers. Third, your kitty bats a toy from their perch. If it happens to land on another platform, you score points. The greater the fall, the more the score.

It’s adorable. And not in any pejorative sense. The tweezers, for example, have little kitten paws on the inside edges. The toys are wooden versions of squeaky mice and pizza slices. The platforms show fuzzy carpet for kitties to test their claws against, but it’s really their reverse side, which reveals fabric stapled to wooden bases, that feels like something you might actually stack into a climbing tree.

That adorableness extends to the rules. They’re simple, which suits the game’s format and age target. But more importantly, they capture feline caprice. Cats, according to this game, are agents of mischief. Why do they knock things off ledges? One expects the things had it coming. If the things didn’t have it coming, the cats wouldn’t have batted them from their ledges. Simple. Circular. Incontestable.

Which does make it a shame that the components are so darn light. I think back on the original Rhino Hero, before its blown-up version or Rhino Hero Super Battle made it easier to handle, or that popsicle-stick stacking simulator Tokyo Highway that collapsed as though the slightest hand tremor was a seismic event. For little fingers to make a stacking game work — and seven isn’t especially little — the components need a certain heft.

Sure, the box rates the game for ages 10+. Fair enough. But let’s be real: those are there to cover the publisher’s backside if a kid chokes on a meeple. No matter the specific digit on the box, Cats Knocking Things Off Ledges is what a seven-year-old who wants to be a kitten and only breaks character to insist she wants chicken nuggets for dinner wants to play. Who else would it be for? It isn’t for my twelve-year-old. She regards it coolly. She doesn’t complain. She’ll humor her younger sister. But this isn’t the sort of thing she’ll directly seek out. Who else is there? Me? My wife? Sure, we have a fine time with it. But the one who jumped up and down at the sight of the box was three years below the stated age limit.

In practice, then, Cats Knocking Things Off Ledges becomes a tornado simulator. The platforms in particular are so light that their surface warps ever so slightly, closer to cardstock than proper cardboard. Not even that heavy of cardstock either. Without proper architectural planning — and, again, let’s be real here — it isn’t long before the tower teeters and shudders. At times, that’s part of the fun. Look at our tower, barely held together with thumbtacks! But when the tower keeps collapsing, especially when it collapses from even slight errors, and doubly especially when it always collapses on the youngest kiddo’s turn, well…

Well, it becomes a tornado simulator. Because the kiddo starts knocking things over on purpose. “Mrrrowwwrrr,” she says, jabbing a pillar with the kitten-stick. Everything tumbles.

Which is fine, as these things go. I’m not about to insist she play the cats-making-a-mess game properly. But it puts the game in a strange place. She adores it. But her adoration has been tempered by the fragility of this plaything. It’s so delicate that she can’t help but break it, and so the breaking has become the game. For the rest of us, Cats Knocking Things Off Ledges becomes a game about rebuilding a similar edifice over and over again, eking out one or two points at a time, and then restarting the process.

To be honest, I’m surprised. Lim was half of the design team behind Junk Art, one of the chunkiest stacking games on the market. If only this title had received similar care. Instead, it winds up overstaying its welcome and growing repetitive within the span of a single session.

Here’s the good news: my kiddo has repurposed the pieces for building a cat tower beyond the confines of the rules. Good initiative, kitten.

 

(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, my third-quarter newsletter is open to all.)

In the wide world of board game themes and gameplay, ‘Alchemy’ feels like one of the most commonly represented. This might just be my own bias though, as it turns out I have quite a few alchemy focused games in my own collection. From the widely popular Flamecraft to the hit bagbuilder Quacks to marble mayhem favorite Potion Explosion and more, I’d somehow become an accidental alchemy aficionado.

Maybe that’s why when Meeple Mountain was provided with a review copy of Grimbrew from Lucky Omen Studios, I quickly (maybe subconsciously) volunteered to provide a review for it.

Even though Grimbrew thematically has a lot in common with other alchemy themed games, it also separates itself in some unique and interesting ways.

Collect & Brew

As you might have expected, in Grimbrew, two to five players compete to collect the most points by gathering ingredients and brewing potions. Turns are as simple as the premise of the game.

On a player’s turn, they can:

• Take an ingredient from a shared market
• Brew a potion
• Rekindle flames

Active flames are required in order for players to brew potions and refresh the market (more on this in a moment). When taking the ‘rekindle flames’ action, players flip two of their five flame tokens from inactive to active,…

The post GrimBrew Game Review appeared first on Meeple Mountain.

Around these parts I'm known as the RPG guy for my love of different systems and the opportunity to immerse myself in the theme of a game. Accidental Heroes, an upcoming app-driven adventure game designed by Wojciech Grajkowski and published by Lucky Duck Games, puts your hero on a topsy-turvy joyride through an ever-changing world bursting with familiar references. Let's hop on the tracks and see how it plays.

Accidental Heroes: The World is Your Oyster

I'll preface my discussion of Accidental Heroes by acknowledging that my experiences are based on a prototype copy that was limited in scope compared to what's expected in the complete game. At first I thought that the lack of content would be disappointing, but instead I was surprised by how many branching paths were available to my heroes as I played.

In Accidental Heroes, players assume the role of an "hero", a term surrounded by quotation marks because whether or not you live up to the moniker is up for you to decide. The object of the game is to pass two difficult Tests associated with Final Missions, acquiring a pair of Dragon Eggs before any other player is able to do so.

Heroes have three main attributes: brain, body, and combat. Each of these attributes is represented in an 'exquisite corpse' fashion…

The post Accidental Heroes Game Review appeared first on Meeple Mountain.

The post SETI: Space Agencies Game Review – A Second Look appeared first on Meeple Mountain.

Imagine you are on the sea. The ocean before you is liberally dotted with various inhabited islands. The sea is calm and the wind is fair. You want to sail from your home island to another, some distance away. The journey will take some time, enough so that this beautiful dawn will have passed into dusk by the time you arrive. There are no pirates or shark-infested waters along your way, just a need to plot a proper course. And for that, all you need is a tall ship and a star to sail her by…

[caption id="attachment_334826" align="aligncenter" width="750"] There is a light side and a dark side to everything. Not just the force.[/caption]

Thomas Wells wrote a very good review of this game several years ago. His take (from my reading) is that this is more of an art-project, an activity, than truly a game. Some might see it that way. After exploring this little gem, I (and several in my group) see it as more a game than an art-project. Certainly not just an activity. Read on and let me know what you think.

Tranquility is not always Silent…

My wife loves cooperative games. On a recent weekend, our normal game group could not all…

The post Tranquility Game Review – A Second Look appeared first on Meeple Mountain.

The post Happy Hunting! Big Buck Hunter Is Coming to the Tabletop in 2027 appeared first on Graphic Policy.

The hunt is moving from arcades to tabletops. Maestro Media has announced that Big Buck Hunter: The Board Game

Imagine me in a real pickle sandwich. The middle of preview season (ho ho ho), and suddenly I come down with not one illness, but two. Something chronic, something acute. And me with a whole stack of board games to write about. Some of them time-sensitive, counting down the minutes on crowdfunding platforms as we speak.

What’s an old man to do? Write about all three in a single splash, naturally.

In other words, here are three very different tabletop titles, each worth a wink of your time. Come on in. Let me tell you about them. Briskly, before I’m back to bed.

Rune Rite

At a glance, Rune Rite doesn’t look all that dissimilar from any number of other flip-and-writes. Fortunately, designer Jason Katzwinkel makes one alteration that has major implications not only for this game, but for the entire format.

Short version: you craft the card in advance.

Longer version. Like every other instance of the genre, you begin your turn by flipping over a card. This shows some combination of runes — spirals, stars, tildes, triangles, and plusses, with the occasional wild that counts as anything and everything. Then everybody at the table gets to mark a cluster of those symbols onto a personal paper grid. The larger the cluster — say, a polyomino L of stars — the more you mark, all the way down to a single symbol.

The wrinkle is that drawing a card isn’t as simple as drawing a card. You draw the card, yes, right, you’re following I’m sure, but then you choose how to lay that card over the top of any previous cards, all framed within a cardboard holder to establish the selection’s outer boundaries. In more mathematical terms, every card offers a 2×3 selection, but you’re really drawing from a 3×3 grid. So the current card matters, but so do any previous cards that might still be peeking out from previous turns.

The implications are far-reaching. At the first and most obvious level, you’re given some control over which symbols — and furthermore, which shapes of symbols — you’re allowed to draw on your pad. By rotating your card, it’s possible to arrive at unusual shapes indeed.

But more than that, with some attention you can also sabotage everybody else at the table. Whatever shape the card-puller draws, nobody else is allowed to use. Sometimes this only provides access to smaller leftovers, but there’s room for devious plays. Such as noting that a rival wants a size-two combination of spirals, so instead you hand them a huge cluster of spirals instead. Go for it, bud. Overcommit.

In some ways, Rune Rite feels like a proof of concept. It’s a small game, I mean, with very little variance between sessions apart from the actual shape-crafting that occurs on each and every turn. Unlike something like Cartographers, which changes its victory conditions between sessions, the goal is always the same.

But for a proof of concept, there’s a lot to like here. There’s real tension between specialization and diversification. Points principally come from drawing boxes of similar symbols and filling other boxes with as many different symbols as possible, encouraging you to build across the pad’s boundaries. Which is to say, there’s a definite “best approach” here, but it isn’t one easily or flippantly pursued.

I’d like to see more of this. Crafting the “flip” of the flip-and-write is a stroke of brilliance, and here it’s given perhaps its purest possible expression. The result is little more than a snack, but it’s a snack that might prove transformative if everybody catches the vision. Like a Triscuit.

Rune Rite is on Kickstarter for nine more days.

Bucket List

According to internet lore, the term “bucket list” was coined by the 2007 comedy film The Bucket List. This is a myth. My proof is a journal entry dated 14 March 2006 which reads: “Bucket List. Item #1. Prove that I, Dan Thurot, came up with the term ‘bucket list,’ not that stupid movie coming out next year.”

Many of the action items in Micah Heiselt’s Bucket List represent similar uphill battles. Spend a night in Dracula’s Castle? Sure, but bring the gauze. Buy a farm for orphaned alpacas? Nothing was ever stopping you but the fear of success. Fill the Louvre with only your art? Kid. Come on. You can’t even finish one board game preview on a site without the slightest quality control.

Then again, that’s much of the charm of this one. You and your friends wrote a bucket list in high school. (Presumably you graduated after 2007.) Now, with death swiftly approaching, you must tick off as many boxes as possible.

What would otherwise be a cutesy gimmick game is elevated by two factors. The first is that the gameplay is a combination of long-term planning, thinking on your toes, and careful risk management. There are only two main resources, time and money, which must be invested into a goal before it can be accomplished. That’s simple enough, but resources come from multiple sources, some more reliable than others, such as action cards versus a turn-initiating roll of the dice. You’ll get something, but whether you can put it to good use is another question. Oh, and any leftovers will anger the Grim Reaper.

The Grim Reaper is the other shakeup to the formula. Various triggers will see old boney chasing everyone around the score track. If he catches up to the trailing player, a headstone will be placed to end the game upon the completion of the round. There are ways to cheat death, nudging the Grim Reaper back on the track and returning the headstone to its resting place… except you might not want to delay the end of the game if you’re sitting pretty at the top of the score track, leading to little tussles to delay or hasten your mortality.

It’s a bit grim. But then, so is anything associated with bucket lists. The good news is that it’s also an amusing little plaything, with more to consider than first meets the eye, and lots of goofball moments where death seems around the corner only to be delayed yet again. It’s ultimately a game about picking your battles. There isn’t time or money enough to do everything, so you’re encouraged to pad out your days with goals that can absorb whatever resources happen to come your way.

In that sense, there’s something comforting about it, almost nihilistic in its dedication to self-determination. Maybe it will even inspire me to fulfill the other entries in my bucket list. “Item #2. Change it back to Berenstein Bears before anyone notices.”

Bucket List is on Kickstarter for fifteen more days.

Pact

Pact is what you get when you blend the asymmetry of Root with the hard tradeoffs of a classic card-driven wargame like Twilight Struggle.

First, the Root. Four bug factions occupy the tree kingdom of Branchbourne, each with its own advantages. There’s Jenna Ermine VI, her authority thoroughly entrenched across the branches and boughs of the kingdom, but spread so thin that the slightest tension might crack her carapace. Her closest rival is the Duchesse Orich, incredibly well resourced but also over-leveraged. Somewhat farther underfoot is the revolutionary Matuk Inkclaw, capable of unleashing labor strikes that cripple the kingdom, and the heretic Weaver Neith. Mostly I remember Weaver Neith mind-controlling everybody.

All right, asymmetry is hot right now. But the second half of the game, the card-driven wargame half, controls how things get done. Everything relies on event cards. At any given time, a handful of these are on offer in the market. Taking a turn isn’t as simple as moving pieces. Instead, you select an event. If it’s your own, you either use the card for its action points — adding tokens, moving stuff between locales, that sort of thing — or take its historical outcome, which is always weirder and often more potent, but less directed. On the other hand, if it belongs to someone else, you take the actions while they trigger the event. Pretty normal, as card-driven wargames go, but rather novel when it comes to bug-based fantasy games.

Making matters more complicated, society in Branchbourne is dominated by four “pillars,” each of which demands some measure of attention lest the kingdom fall into disrepair. These are handled by moving treasures, a nearly zero-sum economy, between their four domains. The Merchants, for instance, are how cash gets infused into the economy. By investing treasures into their domain, additional treasures wink into existence ex nihilo. Invest too much, however, and the Merchants will crash the whole dang thing, reducing the number of treasures in circulation.

Okay, so you want the Merchants to have a lot of treasures, but not so many that they wreck the economy. Except the other pillars also have their own requirements. The Nobility mostly function as parasites, destroying treasures outright, but if not placated they’ll steal treasures from the other pillars. The Church is similar; they like to gather treasures as tithes, but they can manipulate the standings of the other pillars outright. The Military, meanwhile, needs treasure. Lots of treasure. Only their threat is no paper tiger-beetle; if they don’t have enough loot in their vault when the round ends, the centipedes chewing at Branchbourne’s roots will overrun the kingdom and eat everybody.

This prompts a delicate balancing act. Your faction doesn’t only want to survive; they also make pacts (the title! oh ho!) with those pillars to see them succeed in exchange for influence at court. So, depending on how you’ve positioned your faction, you might want the bank to fail this round, since its collapse will humiliate your rival who’s aligned with them, while feeding heaps of glittery to the Church in exchange for their imprimatur on your ascending the throne.

Which brings us full circle to that event system, because this is where you can manipulate every little corner of Branchbourne to your advantage. The Duchesse Orich, for example, can use her hives to bestow additional treasures on various pillars of society. But when an event raises the opportunity to do so, will it align with her current goals? The same goes for the firebrand and his labor strikes, the Empress and her loyalty counters, and everything else. Pact is a game of hard tradeoffs. Direct action or powerful but perhaps misaligned events? That’s the question, baby.

All told, the result is a fable about the ever-shifting halls of power that I find mighty intriguing. Like a lot of the best games, designer Zach Hoekstra has keyed into the fact that smart design is often about limitation as much as it is about player agency. Often, turns force a choice between which goals you’ll fail at the least. It’s a lot like tacking into the wind; moving at increments that seem to go nowhere, only that bit by bit move you closer to your objective.

The result is one heady political game indeed. Of the titles on this list, Pact is the heftiest, but it’s also the one I’m most eager to see reach completion. It’s ambitious, it’s weird, it’s full of bugs.

Pact is on Gamefound for nineteen more days.

 

Prototype copies of Rune Rite, Bucket List, and Pact: The Future of Branchbourne were temporarily provided by their designers and publishers.

(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, my third-quarter newsletter is open to all.)

A Grand Expedition

In a year that's felt rather light on major Euro releases in the U.S., with publishers seemingly pivoting toward small-box card games, it hasn't been a great year for fans of "beige" games. Fortunately, there's still a trickle of titles making their way stateside, especially with Essen Spiel right around the corner.

As I get older, my tastes have shifted from grinding through three-to-four-hour heavyweight monsters (like Lacerda’s Speakeasy, On Mars, or Kanban EV) toward mid-weight Euros I can finish in under two hours. My brain still appreciates a good workout, just preferably without committing my entire afternoon to it.

Capstone Games has a solid track record when it comes to localizing European titles, and The Royal Society of Archeology, originally published by HUCH!, seems to fit that sweet spot nicely.

Surprisingly thematic for a Euro, players lead teams of explorers on expeditions around the world in search of scientific and cultural wonders, hoping to impress the Royal Society of Archeology at the dawn of the 20th century. Discovered relics are put on display in prestigious museums, all while balancing the high costs of exploration. After all, digging up ancient treasures doesn't come cheap!

A Little Knowledge Goes a Long Way

Using…

The post The Royal Society of Archeology Game Review appeared first on Meeple Mountain.

For most of the last two years, I have had an article in my draft folder titled “I Think I Hate Games Where I Have to Read a Lot of Card Text.” It started years ago with a deckbuilding game where I had to lean over the board’s card market to read every card that hit the conveyor belt.

Understanding not only the card’s cost, but its abilities, was critical to success in that game, but it also meant I had to read a lot of card text before making any decisions.

2025’s The Hunt (designed by Renaud Crocombette, Remi Laumonier, and Antoine Pham-Minh) might have pushed me over the edge. That’s because the game is essentially a recipe fulfillment game with fugitive cards. The Hunt is set in the espionage theaters of post World War II Europe, the Americas, and the Middle East, as players guide one of four unique agencies to chase Nazi war criminals down for capture. Taking 1-3 actions each turn, players will visit “investigation zones” to grab cards that match the requirements of the various criminals that must be hunted down during the game.

I typically enjoy games like this, and The Hunt does a great job of keeping the action speedy by forcing…

The post The Hunt Game Review appeared first on Meeple Mountain.

Restoration Games is no stranger to crowdfunding backers pledging hundreds of dollars for premium versions of its games – but its Kickstarter for The Lord of the Rings: The King’s Gambit has taken that to an entirely new level.

The crowdfund had raised $2.33m from more than 7,300 backers in the early hours of its final day, equivalent to almost $319 per supporter – an average spend well above Restoration’s previous major crowdfunding campaigns, including the roughly $260 from last year’s Battle Monsters: Godzilla x Kong.

Almost three-quarters of backers who have committed to one of the game’s various versions opted to spend at least $379 on one of the Mithril tiers, with more than 2,800 people going all-in on the game’s most expensive $449 option.

Those Mithril pledges together account for about 82% of the total raised at the time of writing – a figure well above that expected by Restoration prior to the campaign’s launch, co-owner Justin Jacobson told BoardGameWire.

He said the company had expected Mithril to be most popular, but had conservatively projected about three Mithril pledges for every two people committing to the base-level Limited tiers of the game

He said, “I’m not entirely surprised. We created the Limited Edition as a sort-of compromise pledge level for folks who wanted some deluxe elements but didn’t want to go all-in for the Mithril Edition.

“Ultimately, though, most Kickstarter backers are there precisely because they do want to go all in, and we try to make that pledge level as appealing as possible and as good a deal as possible.”

Despite the much higher-than-expected proportion of backers opting for Mithril, Jacobson said the campaign’s overall performance was “pretty in-line” with his expectations ahead of the campaign’s final few days – and that “in a vacuum” he would have hoped for slightly higher numbers.

He pointed to the absence of a standard retail edition from the campaign, Free League’s The One Ring RPG crowdfund running at the same time and wider global economic conditions among the factors potentially working against it.

Jacobson said the pattern of backers favouring Restoration’s most expensive option was familiar from what he described as the company’s previous “spectacle” campaigns, with all-in pledges typically outstripping other pledge levels at the close of those crowdfunds.

But King’s Gambit is generating substantially higher spending per backer compared with Restoration’s previous projects offering similarly expensive all-in options.

Last year’s Battle Monsters: Godzilla x Kong offered a $379 Mega Bundle – the same price as the basic Mithril Edition of King’s Gambit – but averaged about $260 across its 2,301 backers.

Return to Dark Tower: Expeditions went even higher with a $499 all-in pledge including the base game, its expansions and upgraded components – although as an expansion-led campaign, existing owners could enter at just $45. Its $1.49m haul from 11,665 backers amounted to an average of $128 per supporter.

King’s Gambit is currently averaging almost $319 across its backers to date – despite almost 1,000 people having committed just $5 for access to the pledge manager.

Jacobson nevertheless cautioned against seeing the campaign as evidence that $379-plus board games were likely to become commonplace.

“This campaign is unusual, and I wouldn’t expect this to become the norm,” he said. “It stems from the unique way in which the original licensing deal and co-publication arrangement came to be in the first place.”

Opening Gambit

Jacobson told BoardGameWire that the publisher decided to pitch licence holder Middle-earth Enterprises in 2023 for a new version of cult 2000 board game Star Wars: The Queen’s Gambit, but instead based on The Lord of the Rings.

Bringing Queen’s Gambit back had been an ambition for Restoration since its inception – it was the first game Jacobson suggested reviving when he approached designer Rob Daviau about founding the company in 2016, although they decided at the time that it was too ambitious for their first project. Daviau had worked on the original during his time at Hasbro.

Jacobson told BoardGameWire, “I put together a big proposal and sent it in. Meanwhile, while that proposal was under consideration, Rob was at the Cannes Game Festival and got approached by Asmodee about doing the exact same thing.

“It seemed like serendipity so we just started that conversation about working on it together. It offered a lot of benefits to both parties.

“We brought our design pedigree and Kickstarter experience, and they brought their massive team for art, sales, distribution, and more. It’s always challenging working outside your own team, but [Asmodee studio] Space Cowboys have been absolutely amazing and have helped make this game the best it can be.”

Space Cowboys plans to release a retail edition of the game next year, which while sharing the same gameplay will use smaller boards, omit the large plastic Minas Tirith and Mordor set pieces and use just two colours of plastic for its miniatures.

Jacobson said, “It was important that our offering was a stark contrast to the retail edition. That edition will be what lives on for as long as the game is sold, long after the Kickstarter campaign is fulfilled. So, first things first, we had to align on what that version of the game was going to be.

“Then, we basically brainstormed all of the ways we could ‘deluxify’ that. The Limited Edition was a slight bump and the 3D plastic set pieces; the Mithril Edition was the whole list.”

When asked if there had been any concern internally over having such a large gap between the price points of the Limited and Mithril editions, Jacobson said, “Not really. There are so many variables and options in setting up any campaign. You’re never going to be 100% certain that you’ve gone the optimal path.

“That said, we were confident in the overall structure of the campaign, i.e., folks who want the cool 3D set pieces and folks who want everything.

“As I’ve always said, the price is always a function of the cost to produce. So once we determine what a pledge level includes, setting the price is relatively straightforward with some minor adjustments. For example, we actually shaved a bit off the Mithril Edition to try and make it a bit more appealing.”

He added, “It does highlight that all of the economic turmoil folks are feeling are not being felt uniformly.

“It also speaks to hobby gamers in general. When you compare it to other hobbies, it’s still a relatively good deal even at the highest end of things.”

Jacobson told BoardGameWire that Restoration deliberately looked beyond established tabletop audiences when marketing the game, in an attempt to leverage the vast fanbase of The Lord of the Rings.

About half of King’s Gambit backers are supporting a Restoration Games crowdfund for the first time, he said – a slightly higher proportion than the company has seen on some of its more recent campaigns.

“We made a concerted effort to try and reach out to influencers whose audience comprises The Lord of the Rings fans and not specifically gamers,” Jacobson said.

He believes the licence was likely part of the explanation for the campaign’s performance, although added that Restoration titles tend to come with followers even without a large IP, given the nature of the company’s strategy of taking memorable, usually long-out-of-print games and redeveloping them for the modern hobby market.

He said, “Fans of The Lord of the Rings are certainly avid and show up in large numbers, but we’ve seen similar excitement from fans of Return to Dark Tower and the like.”

Aragorn Art

Despite the campaign’s strong performance, the release has attracted a backlash from a small minority of online commenters for depicting Aragorn as Black.

That reaction has spilled into the unreleased title’s BoardGameGeek ratings, where some users have awarded it scores of 10 specifically to counter what they believe are 1 ratings motivated by objections to Aragorn’s skin colour.

Jacobson described the reaction as “disappointing but not entirely unexpected”, while stressing that not everyone who preferred a depiction closer to previous versions of Aragorn was motivated by racism.

He said, “The art team for both Space Cowboys and Restoration Games spent countless hours working on an extensively researched and thoughtful art brief for the look of the entire game along with each individual character. It’s 59 pages long!

“Our first priority is always to do something true to the source material. Within those pages though there are a number of interpretations. Ultimately, for each depiction, not just Aragorn, we were looking to do something interesting and perhaps novel that still stays true to the source material.

“I can point to details in the lore that support this depiction, but this just isn’t something I have any interest in debating.

“Great works, whether that’s a game or an epic fantasy novel or something else, only arise when the people creating them have a strong vision for what they want to make and put their full effort into realizing that vision.

“In every case, some folks won’t share that vision. But, in every case, if you set out to try and please everyone, you cannot make something extraordinary.”

He added, “There are folks who prefer a depiction more in keeping with prior ones; where other folks enjoy seeing broader depictions. Whenever you are working with an IP, the fans will have strong opinions. I want to be clear: not everyone who would prefer the former do so from a place of racism.

“That said, there are certainly racists, who are using these types of situations to espouse their abhorrent beliefs. It’s unfortunate that they muddy what can be an otherwise interesting conversation.

“As for folks on BGG rating a game a 1 before it comes out, this has been going on for a while for a host of reasons. There’s nothing we can do about it, so we press on and just make the best game we can.

“When people actually receive and start playing the game, we are confident that there will be a lot of great ratings for it that will make the current kerfuffle just so much background noise.”

The King’s Gambit’s crowdfunding campaign ends at 8.30am EDT on October 20.

The post “I wouldn’t expect this to become the norm”: backers overwhelmingly choose King’s Gambit most expensive tiers, power crowdfund past $2.3m first appeared on .

Ever since I first played Tag Team with Meeple Mountain's Justin Bell at Gen Con 2025, I've racked up dozens of plays of the 2-player autobattler card game. I revel in its simplicity. After playing thoroughly with the entire stable of Fighters, I still craved more. Enter Tag Team: Arthur's Legacy, introducing six new Fighters from Arthurian myth, available to play standalone or combined with the base game.

Tag Team: Arthur's Legacy: By Merlin's Beard

Instead of rehashing the main mechanics of the original game, I'll let Andrew's Tag Team review speak to that. Tag Team: Arthur's Legacy uses that same core gameplay loop, so instead I'll focus on the six new Fighters and the shenanigans they bring to the (round) table.

First up is Excalibur, the fabled sword gifted to Arthur by the Lady in the Lake, or the sword that he pulled from the stone, depending on the tale you follow as canon. Excalibur enhances your partner, typically offering benefits like increased power. If Excalibur's HP goes to 0, the game isn't over like it normally would. Instead, the card gets flipped over to its Broken side and those positive abilities on Excalibur's deck become accompanied by a negative effect.

Morgan places a Crow…

The post Tag Team: Arthur’s Legacy Game Review appeared first on Meeple Mountain.

“So, normal trick-taking rules, must follow, there’s a single trump. But THIS time,...”

Trick-taking games are becoming very difficult to review, because an ocean of new trick-takers get released every week. (If you had told me the “best” part of the tariff backlash is that more companies are producing more cheap-to-make card games with a trick-taking element, I might have retired from games right on the spot. I like trick-taking, but I don’t need it to survive.)

The hardest part of the trick-taking deluge is that you have to both learn each game as if it is new, and you have to try to leverage your years of playing other trick-taking games to account for how to win tricks, or avoid them, or win some to set up losing all the rest, etc. The first sentence of this article is uttered at almost every game night I host now, because I picked up about 20 different trick-taking games at Gen Con or through the mail!

Trickarus (originally released in 2024, but now published by Smirk & Dagger Games in the US) is a must-follow trick-taking game. There’s a trump suit. But THIS time, there is a mechanic where players have cards that have a day half, and a night…

The post Trickarus Game Review appeared first on Meeple Mountain.

My man Andy Matthews wrote a review of the Mountain Goats base game a few months ago. After trying the base game on Board Game Arena, I mostly agree with his summary. Mountain Goats is a very simple dice chucker with just enough strategy to warrant your attention when it is your turn. You roll four dice, then use the pips on each six-sided die to move goats in your player color up one of six different mountain tracks to score points. Only one player can have a goat at the top of a mountain; when another player’s goat arrives, your goat moves to the bottom of that hill, and it might take a couple turns to crest again later.

The base game takes about 20 minutes to play. Mountain Goats: Legacy is the new version of the game, and it has ten chapters, a very family-friendly Storybook that is used to provide just enough flavor text to get players from one chapter to the next, a couple of main characters to follow through a story, and almost the exact same gameplay experience offered by the base game.

And, that’s the problem.

For this review, I completed six of the ten chapters; five with my nine-year-old son,…

The post Mountain Goats: Legacy Game Review appeared first on Meeple Mountain.

By almost every metric, the latest Unmatched Adventures set, Teenage Mutant Ninja Turtles, is an improvement on its predecessor.

Now, that’s quite some feat, given Unmatched Adventures: Tales to Amaze's impressive achievement. It turned the competitive Unmatched system into a cooperative experience and did it with style. I gave it 4 out of 5 stars just a few months ago, and I stand by that score.

But Teenage Mutant Ninja Turtles is the better game and the better experience. I’m going to use Tales to Amaze as a comparison throughout this review, not because it’s lacking, but to show how this new version builds on it.

Raise some shell

For the record, I am fairly indifferent to the cowabunga-ing Turtles. My 9-year old son recently asked me who has what weapon and I had to shrug and promise we’d look it up when we got home. They like pizza, they hang about with people whose names are months, and they wear colourful masks. (Why do they need masks, how many other humanoid turtles are wandering about New York?) Both their teacher and their villain are named after processes of making small fragments, but I couldn’t tell you which was the good one.

My praise for this…

The post Unmatched Adventures: Teenage Mutant Ninja Turtles Game Review appeared first on Meeple Mountain.

At Basgiath War College, ambition is as dangerous as the skies. You face trials where strength alone will not secure your place among the dragon riders. Allies matter, but so does knowing when to press an advantage and when to hold back. Every challenge tests your nerve, every decision risks your standing, and every rival is a potential threat. You must seize opportunities, outmanoeuvre your opponents, and prove you have what it takes to lead. The stakes could hardly be higher, for you are no ordinary cadet. You are part of the Fourth Wing: Rise of the Wingleader by Dexter Stevens from Goliath Games.

The post Fourth Wing: Rise of the Wingleader (Saturday Review) appeared first on Tabletop Games Blog.

UK-based Osprey Games has let go of its entire board and card game development team and cancelled its booth at the upcoming Spiel Essen game fair, five months after parent company Bloomsbury began searching for a buyer for the operation.

Osprey revealed in May that multinational book giant Bloomsbury had made the “difficult decision” to sell the board and card game segment as part of a wider “strategic refocusing” on book publishing, which would see Osprey concentrate on its wargame and RPG lines.

Two sources with knowledge of the matter told BoardGameWire at the time that Bloomsbury hoped to find a buyer willing take on the existing board and card game team in addition to its catalogue, which includes acclaimed titles such as the Undaunted and Imperium lines.

But a Bloomsbury spokesperson has now confirmed to BoardGameWire that “all our colleagues who exclusively worked on creating and manufacturing our board and card games have now left the company”.

Multiple sources spoken to by BoardGameWire said those exits were in the form of redundancies at the end of September, although the company declined to say exactly how many staff were affected.

The departures mean Bloomsbury is now seeking a buyer solely for the board and card game catalogue, rather than the department as a whole – but questions remain over exactly how the rights to its portfolio of games could be sold on to a new owner.

BoardGameWire understands that some Osprey designer contracts include restrictions governing the transfer of publishing rights to third parties, which could complicate the sale efforts – with some agreements seeming to limit transfers to buyers acquiring all or substantially all of the imprint’s titles.

Asked about that situation by BoardGameWire, a Bloomsbury spokesperson said, “The contractual arrangements relating to Osprey Games are confidential, so we’re not able to share details of specific terms or comment on potential outcomes.

“We appreciate that these questions are important to designers and other partners, and we’ll share further information with those directly involved as soon as we’re able to.”

The spokesperson also confirmed that Osprey has multiple unreleased board and card game projects under contract at “various stages of development”, but did not say whether those titles would be published by Osprey or transferred to another buyer.

They said, “As with our published games, we will share information about the future of those projects with the relevant designers as soon as we are able to.”

Osprey’s existing games remain “well stocked”, the spokesperson said, adding that the company had no current plans for reprints “but will continue to review the situation as we move forwards”.

They said, “We remain committed to supporting our fantastic range of board and card games with sales, marketing and licensing efforts and each of our games remains available to purchase.

“Our upcoming games, Undaunted 2200: Revolution from David Thompson and Trevor Benjamin, and Upland & Prairie from Peer Sylvester will be released as planned this month.  

“We are, as ever, incredibly grateful to our brilliant in-house team, to our wonderful designers and illustrators, and to everyone who has supported Osprey Games over the years.”

Osprey Games was launched in 2015 as part of Bloomsbury arm Osprey Publishing, which had a decades-long history of creating military and historical information and reference books before beginning to publish wargaming rulebooks in 2008.

The gaming arm’s early successes included Peer Sylvester’s The King is Dead and The Lost Expedition, as well as popular titles such as Hal Duncan and Ruth Veevers’ design Cryptid and the second edition of Martin Wallace’s London.

Those releases were followed by the high-profile success of the Undaunted series of deckbuilding wargames from David Thompson and Trevor Benjamin and the Imperium games from Nigel Buckle and Dávid Turczi.

Osprey also gained a reputation for taking chances on a range of titles with intriguing mechanisms and designs, such as Sylvester’s area control and trick-taking hybrid Brian Boru, highly asymmetric area control title Crescent Moon, card-based strategic wargame Battalion: War of the Ancients and small-box, quick-playing conflict title General Orders: World War II.

The publisher has continued releasing games in the wake of the sale process announcement, including Threaded, Flip Pick Towers and Rattlesnake earlier this year and CRAB RAGE! last month.

Bloomsbury has not specified a timetable for completing the sale, with the spokesperson telling BoardGameWire that conversations were “ongoing”.

They added, “I’m sure you’ll appreciate that this is a very complex situation, and the timelines are based around confidential conversations. We will provide updates when we can do so.”

Osprey parent Bloomsbury, which has a stock market valuation of more than £500m, announced in April that it was “streamlining its structure for further growth” – which included a reorganisation of the company’s editorial divisions and the loss of about 55 jobs. No mention of Osprey was made in the restructuring announcement.

Bloomsbury has seen its profits almost double in the last five financial years, and confirmed at its July annual meeting that it expects annual revenue of more than £350m and was on track for record adjusted pre-tax profits of £49.9m, according to Publishers Weekly.

The post Osprey Games lets entire board and card game development team go, cancels Essen booth first appeared on .