Luxembourg’s hospitality industry has named trick-taker Pili Pili as its board game of the year, continuing an eight-year initiative aimed at getting modern hobby games onto the tables of cafés, bars and restaurants.
Rather than solely recognising the best game of the year, the Bistrospill award is designed to encourage hospitality businesses to offer games for their customers to play, with the aim of reviving a tradition of cafés and bistros as spaces “buzzing with social life, where bonds were forged over a game of cards or dice”.
Bistrospill been run since 2018 by Horesca, Luxembourg’s association of hotels, restaurants and cafés, alongside the country’s biggest board game club Spillfabrik.
Horesca, which represents about 2,900 businesses, said it wants to re-establish tabletop gaming as a “vibrant part” of Luxembourg’s hospitality culture, harking back to the popularity of trick-taking games such as Whist and Belote in the 19th and early 20th century.
The organisation has persuaded cafés and bars to hold gaming afternoons and evenings, while participating businesses have been offered kits including posters, simplified rules, printed beer mats and suggestions for activities.
Its latest material also encourages hospitality businesses to keep a small selection of games available to customers, arguing that venues do not need to become dedicated board game cafés, and that a small shelf or clearly identified box of carefully chosen titles can be enough.
Spillfabrik is responsible for preselecting games suited to the bistro environment as part of the initiative, focusing on titles which are easy to explain, compact enough for café tables, playable by several people and sufficiently interactive to work in a social setting.
Publishers submitted 76 games for this year’s Bistrospill, with Spillfabrik whittling those down to five finalists – Udo Peise’s design Auf die Eier, Kei Kajino’s dnup, Antoine Bauza and Théo Rivière’s design Oh My Socks! and Sneaky, by Jannik Walter, as well as eventual winner Pili Pili.
Players predict how many tricks they will take each round, receiving penalties if they miss their target, while mission cards alter the rules as the game progresses.
The game’s roughly 20-minute playtime, compact card-based format and simple rules were among the elements highlighted by Bistrospill organisers as making Pili Pili particularly suited to cafés and bars.
Italian board game creator Paolo Mori has picked up his second designer of the year prize in the space of five months thanks to Lucca Comics & Games – one of Europe’s biggest comics and tabletop gaming festivals.
The win comes just a few months after Mori was named game designer of the year in Italy’s ioGioco Awards, in which Toy Battle also took the prize for best two-player game.
Mori has been a published game designer for 20 years, with his highest-profile creations including Ethnos, Libertalia and Pandemic spin-off Fall of Rome.
A statement from Lucca’s judges – which this year included Spiel des Jahres president Harald Schrapers – said, “The two-year period from 2024 to 2026 saw Mori move with rare ease between diverse genres, from historical wargaming, approached in both accessible and more traditional, simulation-based formats, to international family games, and even a foray into narrative puzzles that took his style into entirely new territory.
“In every case, the author has maintained his signature style of essential rules, rich decisions, and a mechanical balance that never fails. Equally significant is the fidelity with which Mori treats his historical and cultural sources, be they meticulously reconstructed wartime events or literary materials transposed into a gaming environment with respect and precision, a trait that makes the setting an integral part of the gaming experience, never merely a framework.
“This variety of registers is accompanied by a remarkable ability to appeal to diverse audiences, from the most demanding historical simulation enthusiasts to the casual gamer. This approach has made its games effective tools for spreading gaming culture, broadening the target audience for modern board games.
“The jury recognizes Paolo Mori as an author who exemplifies the maturity achieved by Italian game design on the international scene.
“The continuity of his output, the versatility demonstrated throughout his career, and the ability to innovate without losing expressive coherence constitute a significant contribution to the evolution of contemporary gaming language.”
The prize was launched by Lucca Comics & Games and board game designer association SAZ Italia in 2024, with Barrage, Tiletum and Nucleum co-designer Simone Luciani taking the inaugural prize.
Rather than rewarding a single game, the international award considers designers’ bodies of work over its reference period, with judging criteria including originality and innovation, sensitivity to current player and market trends, prolificacy and the ability to work successfully across different styles.
This year’s jury also included Fabio Cambiaghi, former Gioco dell’Anno president Paolo Cupola, SAZ Italia representative and game designer Stefania Niccolini and last year’s winner Grard.
Mori also has history with Lucca’s separate Gioco dell’Anno prize, having won the inaugural edition of the award in its current form in 2013 with Rise of Augustus.
This year’s five finalists for that prize have also now been revealed, with Spiel des Jahres winner Bomb Busters, designed by Hisashi Hayashi, up against Mitch Wallace’s Art Society, Simone Luciani and Roberto Pellei’s Echoes of Time, Reiner Knizia’s Rebirth and Brett Myers and Dave Chalker’s Thunder Road: Vendetta.
The shortlist was whittled down from 50 eligible games, with the winner due to be announced on stage during the Lucca Comics & Games festival, which runs from October 28 to November 1.
The current Gioco dell-Anno award succeeded Lucca Games’ long-running Best of Show award, whose history stretches back to 1993.
Recent Gioco dell’Anno winners include Botanicus in 2025, Planet Unknown in 2024 and Challengers in 2023.
The Arclight Games title is a reworking of Hayashi’s 2022 Japanese release of the same name, with Barrage and Darwin’s Journey co-designer Simone Luciani acting as a developer for the new version.
That result means Luciani has been involved in three IGA multiplayer category winners in the last six years, having previously scooped the award for his co-designs Barrage (with Tommaso Battista) in 2020 and Nucleum (with Dávid Turczi) in 2024. He also won with Daniele Tascini co-design The Voyages of Marco Polo in 2015.
Hayashi was also in the running for the IGA multiplayer award last year with Bomb Busters, but missed out to Tomáš Holek’s SETI. His design Yokohama was also a multiplayer finalist back in 2017.
While missing out on the multiplayer award, Fate of the Fellowship did secure a win in the best solo game category, beating out Benjamin Amorin’s Ace of Spades, Tyler Brown’s design Hercules and the 12 Labors and Jamey Stegmaier’s Vantage to the prize.
That result marked Leacock’s first IGA win in any category, 18 years after Pandemic earned him his first nomination in 2008. His other nominations have included Pandemic Legacy, which lost out to Mombasa in 2016, and Daybreak, which was beaten by Nucleum in 2024.
Hans im Glück’s Duel for Cardia, designed by Faouzi Boughida and Mathieu Rivero, took this year’s award for best two-player game.
That title beat a six-strong field which also included Trevor Benjamin and David Thompson’s design Moytura, Richard Borg and Adrien Martinot’s Star Wars: Battle of Hoth, Corentin Lebrat and Gricha German’s Tag Team, Israel Cendrero and Sheila Santos’ The White Castle Duel and Stegmaier’s Vantage.
The International Gamers Awards were founded in 1999 with the aim of recognising outstanding games, their designers and publishers, with winners selected by an international panel of board game critics.
Ants, the debut release from designers Renato Ciervo and Andrea Robbiani, has scored its first board game award by picking up this year’s Jogo do Ano, the Portuguese game of the year prize.
Vital Lacerda design Speakeasy, Dave Beck and Abe Burson’s Luthier and Toni López creation Ada’s Dream were also nominated for the annual prize, which is organised by the non-profit board game association Spiel Portugal.
The Jogo do Ano, which has been presented since 2006, tends to skew towards the heavier end of board gaming, with recent winners including SETI, Nucleum, Barrage and Imperial Struggle.
Spiel Portugal says the type of game it looks for is “strong, spirited, dense, and stimulating”. Each member of the organisation initially selects ten games, with the resulting five finalists played again and scored according to a weighted set of criteria.
Half of the final score is based on what Spiel Portugal calls “time/fun”, with production accounting for 15%, theme, mechanics and replayability each worth 10%, and player interaction making up the remaining 5%.
Ants, designed by Renato Ciervo and Andrea Robbiani
The title was originally published by Italy-based Cranio Creations, and has since been picked up for localisation by publishers including US-based Capstone Games and Germany’s PD-Verlag.
Ants is the sole design to date from chemist Renato Ciervo, who also works with Italian publishers as a game developer, according to his BoardGameGeek page.
His Ants co-designer, engineer Andrea Robbiani, has subsequently created Maestro – themed around the fierce rivalry between Leonardo da Vinci and Michelangelo – and co-designed Timeless Journeys: The Italian Grand Tour with Nestore Mangone.
Spiel Essen has launched a dedicated B2B matchmaking system aimed at helping publishers, designers, retailers and other industry professionals find potential business partners and arrange meetings before arriving at the world’s biggest board game fair.
The new service, which is restricted to exhibitors and people with business visitor tickets, lets users create profiles detailing what they are looking for and what they can offer, send specific business inquiries, connect via chat and schedule appointments at the show using the built-in calendar.
Spiel said today that the system will be integrated directly into its dedicated app, adding that the move is intended to make networking between trade visitors, professionals and publishers “more targeted, simple, and effective”.
Business has long been an important part of Spiel despite its status as a public-facing convention, with major publishers operating their own dedicated B2B areas for meetings with retailers and other industry professionals.
B2B-specific companies such as manufacturers, crowdfunding services and trade organisations were still scattered across various halls in 2019, but that situation began to change after Spiel was taken over in 2022 by Merz Verlag – whose core event, Spielwarenmesse, is one of the world’s biggest B2B toy trade fairs.
Those companies began to be more concentrated in Hall 4 during the 2022 event – a move which intensified the following year amid a major reorganisation of the halls which attempted to more obviously split the fair into themed segments such as children’s games, family and light-to-medium games, expert games, tabletop and miniature games, roleplaying games and TCGs.
Florian Hess, managing director of Merz Verlag, said after last year’s record-breaking Spiel, “For exhibitors at the fair the focus is also on the joy of the games. At the same time, an incredible number of effective business developments emerge here – and this happens naturally alongside everything else.
“I don’t know of any other event that is as strong a springboard for a business’s launch as Spiel. I have met exhibitors who started here a few years ago with a small booth and are now occupying several hundred square meters and selling games internationally.
“Experiencing this kind of B2B rocket launch never ceases to fascinate me.”
Hall 3 at Spiel Essen 2025
The new system arrives as Spiel prepares for its biggest-ever event from October 22 to 25 this year – with an expansion into all eight main halls at the Messe Essen exhibition centre for the first time expected to see the event challenge its record 220,000 attendance set last year.
But despite the show bumping against its space limits at its long-time home, a Merz Verlag spokesperson told BoardGameWire in March, “We love Essen – as a venue and the city – and have no intention of leaving. For the foreseeable future SPIEL will remain in Essen as it has for more than 40 years now.”
The fair’s expansion into a seventh hall last year helped the four-day show to its record 220,000 attendance, outstripping the 209,000 visitor record it set just before the Covid-19 pandemic.
Spiel might have broken its attendance record in 2024 were it not for a self-imposed visitor cap, which limited the number of attendees each day to about 50,000 – a measure introduced alongside wider aisles post-pandemic to help visitors move around the often crowded halls more easily.
More than 920 exhibitors from 53 countries are expected at this year’s event, with Merz Verlag saying in March that demand had come both from long-term exhibitors keen to “significantly increase” their booth space, as well as an “impressive number” of first-time exhibitors hoping to attend this year.
About half of the available tickets for Thursday, Friday and Saturday have already been sold, seven weeks before the show opens, with Sunday sales currently “lagging slightly behind”, the show announced today.
Access to the matchmaking platform comes as part of Spiel’s €46 business visitor ticket, which compares with €25 for a standard adult day ticket.
Spiel Essen 2026 takes place at Messe Essen from October 22 to 25.
Ein Autor, drei Auszeichnungen: Reiner Knizia ist der erste Mensch, der das Spiel, Kennerspiel und Kinderspiel des Jahres gewonnen hat. Im Triple-Interview verrät er, dass er Besteck aus Flugzeugen klaut, zum Einschlafen Witzbücher liest und sich über unprofessionelle Verlage ärgert. Reiner Knizia hat als erster Autor die drei wichtigsten Auszeichnungen der Brettspielbranche gewonnen: das Spiel, Kennerspiel und Kinderspiel des Jahres. 2008 gelang ihm das Double. Damals gewann er mit Keltis das Spiel, und mit Wer war’s? das Kinderspiel des Jahres. Knapp zwanzig Jahre später komplettierte er das Triple. Das Kennerspiel des Jahres 2026 wurde Rebirth. Wir haben ihm passend dazu
Unstable Unicorns publisher Unstable Games has launched a new studio led by rising tabletop designer Marceline Leiman, who will shape its creative direction and design every game it releases for at least the next few years.
Ordinary Magic plans to publish light strategy board and card games set within a single expanding world, with Leiman telling BoardGameWire the studio is looking to put out designs “offering whimsical, magical moments of the everyday” alongside high interaction.
The move comes nine years after Unstable Games owner TeeTurtle’s hugely successful Kickstarter campaign for light card game Unstable Unicorns, which raised more than $1.8m from over 33,000 backers – and went on to sell more than a million copies worldwide by 2023.
The success of that release led to t-shirt maker TeeTurtle creating its dedicated tabletop studio Unstable Games, which has sold millions across its debut title and follow-up releases such as Here to Slay, Happy Little Dinosaurs, Casting Shadows and Twisted Cryptids.
Her route into professional board game design began with the 2023 release of her solo mode for North Star Games titles Oceans, which led to a part-time developer position at Underdog Games, as well as client work for Office Dog, WizKids, Allplay, Button Shy Games and Maestro Media, according to her website.
But Ordinary Magic represents her first full-time job in the industry, with Leiman saying the roots of the venture going back to the period immediately following the downsizing of Underdog in April 2025, when the publisher laid off almost its entire staff as it attempted to weather the impact of US tariffs.
She told BoardGameWire that Underdog president Nick Bentley, who was also let go by the company at that time, quickly introduced her to Unstable Games, with the pair initially planning to build the new operation together.
Bentley ultimately went in another direction before that arrangement was finalised and is now director of game design at Taco Cat Games, which rebranded from Dolphin Hat Games in May to reflect the huge success of its standout title.
Leiman said, “We both were fully intending to start up a new studio within Unstable Games. The proposition was always that they were going to do sort of an incubator program, is the way that they proposed it to us.”
She added, “My role within the studio was always going to be the capacity of being a game designer. Only now with Nick no longer part of the project, it has allowed me to take more of a formal leadership role.”
Leading the line
The resulting structure puts Leiman’s work at the centre of the studio, rather than positioning Ordinary Magic as a conventional publisher or imprint sourcing games from a roster of designers.
She told BoardGameWire, “Every single game that comes out of Ordinary Magic is a design of mine. I am the designer of each of the games coming from the studio, and you should expect that at least for the next several years.
“That does not mean that you won’t ever see a game from anyone else besides me from Ordinary Magic. But think of me as the shepherd of the studio.
“I am leading the direction of the design behind Ordinary Magic and the types of games you should expect, and the feelings from the games that you should expect. But I am absolutely open to that changing; it’s not a hard rule.”
Leiman added that although she is not currently accepting game pitches, she is “always interested in learning what designers are working on, both those I am familiar with and unfamiliar with”.
She told BoardGameWire, “I love sharing ideas, and I think the spirit of design is still very much open in terms of the way I like to talk with other designers. I always want to consider whether or not in the future, an opportunity is available between Ordinary Magic and a designer looking to pitch their games.
“However, I cannot promise at this time that we are accepting any pitches that we might receive. If I were to look at any pitches, what I’ve described in the past is that Ordinary Magic is looking for games that are offering whimsical, magical moments of the everyday. Not high magic, not combative, though highly interactive.
“I think if someone wanted to pitch to me a game with a theme that was more focused on a curious bit of a real-life moment that inspired them, that would interest me more than somebody who’s coming to me with a pitch purely with a magical concept. I am much more interested in the grounded reality of this world rather than the high fantasy.”
Finding direction
Leiman said the studio’s creative direction would be to create interactive games which give “meaningful reason for other players to be at the table with you”, but added that would likely not extend to full “take-that”-style designs.
She said, “What you should expect from us is strategy-light strategy style games, sometimes card games, sometimes board games. I am also very interested in exploring the realms of cooperation as well as indirect player interaction, or both direct and indirect forms of player interaction.
“Something that you’ll find from me is that I am very interested in sort of passive aggression in games, where the decisions I am making might be to block you or to prevent you from getting something before me. A very old-school style of interaction, German old-school I think some people would think about.”
Leiman said the original plan had been to launch the games individually, but that Unstable ultimately proposed putting all three into the same campaign after their development schedules aligned – a situation which partly arose due to Leiman’s rapid work rate.
The Curious Little Bookshop || Gamefound image
She told BoardGameWire, “The method that I was taught game design was very much under the tutelage of my professors at NYU Game Center, and there we worked very much within a fast-paced work environment.
“Joining this studio very much is like returning back to that environment, which I am very comfortable being in. The way that I’ve worked within the studio is quite fast, is quite rapid, I guess, in relation to other people’s speeds.
“But for me, within a short amount of time, what I am looking to do is try out many ideas and fail with many ideas as quickly as possible, so I could find the core of what is fun, what is interesting, what is memorable about a game.
“It just so happened to align with our release schedule that I would have these three games. Our original plan was to release them one by one, but just with the way that scheduling worked out, we decided that it would be best to put our best foot forward with this new studio by showing the strength of our design, with the strength of our art, and production capabilities.”
Operationally, however, Ordinary Magic is currently far less separate from its parent studio than its distinct branding might suggest.
“The only difference between Ordinary Magic and Unstable Games in terms of operation is me,” Leiman told BoardGameWire.
She added, “Everything that you’ve come to expect from me – my work ethic, my taste, my voice – you should expect to be part of these games.
“Not to say that I don’t work with the Unstable Games team as well. We actually do cross-pollinate a lot in terms of our playtesting, in terms of our conversations, in terms of problem-solving.
“So it’s not like I’m totally in a silo or and neither are they from me. There’s definitely a lot of creative support going back and forth between the two studios. And as the studio continues to develop and grow in size, naturally Ordinary Magic will change with it.”
Speaking about the shared world envisaged by Ordinary Magic for all of its releases, Leiman told BoardGameWire, “You should not expect to see any games released from Ordinary Magic that are not part of this world.
“We’ve talked a lot about what that means in terms of building the IP, sort of what direction could it go in the future? Does it open us to different forms of media, different forms of games, or are they all going to be board games and card games?
“We’re leaving that station open right now. But we’re definitely open to exploring what it means to have this IP as we look forward to the future.
“As for recurring characters and locations, I would say keep your eyes open for the GameFound campaign, and I think you’ll be very excited to see some crossover moments between them.”
Africa’s longest-running board game convention is hoping to use its tenth anniversary to put more direct support behind the continent’s emerging designers, with plans for a new grant programme if its latest crowdfunding campaign reaches $20,000.
The November 27 and 28 event in Abuja will include prototype playtesting, workshops, industry discussions, networking and a marketplace alongside its consumer-facing game demonstrations and tournaments, according to organiser NIBCARD Games.
But potentially more significant for Africa’s developing board game industry are the additions AB Con hopes to unlock if the campaign moves beyond its base target.
Reaching $20,000 would launch an AB Con Designers Grant, providing financial support and mentorship to African tabletop designers to develop prototypes, improve their games and showcase them at future editions of the convention.
A $22,000 stretch goal would introduce an Impact Award recognising people and organisations helping develop the continent’s tabletop ecosystem, while $30,000 would extend this year’s convention from two days to three.
The campaign describes the designer grant as an attempt to create “more opportunities for African games to reach local and international audiences”.
That represents another step in a decade-long attempt by AB Con and organiser NIBCARD to build infrastructure around what was an extremely small modern tabletop design community when the convention began.
AB Con says there were fewer than 10 known indigenous tabletop games and only three published game designers in Nigeria before it launched in 2016, with few places available for people to regularly play modern board games.
BoardGameWire reported last year that the number of known modern games from Nigerian designers had since passed 100, while the number of designers had grown to 25.
AB Con has provided a crucial meeting point and catalyst during that expansion, bringing together designers and publishers alongside manufacturers, retailers, educators and players.
Gamers, publishers, designers and organisers at AB Con 2025 || Photo Credit: AB Con
Nigerian board game company NIBCARD’s role in developing that ecosystem was recognised with the Diana Jones Award for Excellence in Gaming in 2021.
The award committee described the company as being “the multi-faceted company at the heart of the nascent Nigerian games industry”, highlighting its work publishing games, manufacturing for other companies, mentoring designers, running a game café and organising AB Con.
NIBCARD itself says it has now designed more than 70 tabletop games since being founded in 2013, while its activities have expanded across publishing, manufacturing, education and digital games.
While those efforts have proved a pillar of the region’s hobby gaming growth, NIBCARD and AB Con founder Kenechukwu ‘KC’ Ogbuagu told BoardGameWire there were still large challenges around getting Nigerian and African designers and games to break into North American and European markets.
He said, “It’s a combination of several factors, but I would highlight visibility, access, finance, and market access.
“There is a significant lack of visibility for African games and designers. Publishers often don’t get to see the games being created here, while designers have very limited opportunities to meet and build relationships with publishers.
NIBCARD and AB Con founder Kenechukwu ‘KC’ Ogbuagu
“I have experienced this personally. I once received fully funded support to attend Spiel Essen, but was denied a visa. Last year, I was invited to GothCon on a fully funded trip, but I couldn’t even secure an interview date for my visa application.
“Finance is another major barrier. Even when a game is ready, designers need money to market it, work with content creators and reviewers, attend international conventions, and run crowdfunding campaigns such as Kickstarter or Gamefound.
“And for those who choose to self-publish, international shipping can make African games extremely expensive and difficult to compete with in global markets.”
He added, “One of our mission is to see African designers creating games that are enjoyed globally and, ultimately, seeing African-designed games recognised among the best games in the world.
“We have already started working towards this. Last year, with support from the Spiel Foundation, we showcased games from three African designers at SPIEL Essen 2025. We also started a game studio as a way to bring African games to light.
“But even as we build, from over 10 years of experience doing this, a lot of the impact are limited due to lack of funding.
“We are intentionally building AB Con to become a platform where African designers, games, publishers, distributors, and international industry professionals can connect.
“We want publishers from North America and Europe to see AB Con as a place to discover new designers and games from Africa, explore licensing and publishing partnerships, and build long-term relationships with the African tabletop industry.
“This is one reason we are committed to maintaining a two-day convention going forward, with the goal of eventually growing it into a four-day event. We want to create enough time and space for meaningful meetings, playtesting, networking, showcases, and publisher scouting.”
The growing scope of AB Con has repeatedly run up against the economics of staging the convention, however.
Its new $14,000 base target represents another substantial increase. Organisers said the higher figure reflects both inflation and the cost of restoring AB Con’s two-day format, and will be used for venue and production costs, volunteer support, logistics, marketing, accessibility and expanded programming.
Nigeria continues to experience significant price increases, despite inflation having eased substantially from the levels that prompted AB Con’s return to crowdfunding.
The country’s National Bureau of Statistics currently reports annual consumer price inflation of 15.9% – down markedly from an almost 30-year high of 34% when AB Con launched its 2024 campaign.
Last year’s AB Con campaign was initially intended to support ambitions for as many as 3,000 attendees, compared with roughly 1,300 at the 2024 event and about 1,000 in 2023. The 2025 convention ultimately took place as a one-day event on November 29.
At least seven Nigerian designers showcased projects at the 2025 convention, according to Nigeria’s Independent newspaper, while participating publishers included Althra Games, ICE Game and Jesus Native Games.
AB Con founder and lead convener Kenechukwu ‘KC’ Ogbuagu said, “When we hosted the first AB Con in 2016, our dream was bigger than organizing an event – we wanted to help build an industry.
“Ten years later, we’ve seen designers launch original games, communities grow across Africa, and more people recognize games as powerful tools for learning, culture, business, and connection.
“This anniversary is not only a celebration of how far we’ve come but an invitation for the world to help shape what comes next.”
The AB Con Kickstarter is live now, with the convention scheduled to take place in Abuja, Nigeria on November 27 and 28.
The Tabletop Game Designers Association has begun scoring and comparing the standard contracts board game publishers offer to designers, with the aim of improving how game creators are treated and paid.
TTGDA’s inaugural review of contracts from more than 50 board game publishers found “several critical areas where many standard publishing agreements fall short of fair practices”, such as 75% of publishers retaining rights to a game’s name after publication agreements end, and 40% able to develop expansions without consulting the original designer.
TTGDA – a professional organisation launched in 2024 to advocate for tabletop game creators in North America – has spent the last year creating what it calls its Contract Scoring Rubric, which assesses publisher contracts against 110 criteria covering advances, royalties, intellectual property, expansion rights and financial transparency.
While individual scores are available only to TTGDA members, the organisation has published industry-wide findings and identified its five highest-scoring publishers – adding that the benchmarking exercise had already prompted changes from publishers who scored less well.
TTGDA said several publishers have revised their standard contracts after receiving feedback during the review process, with some improving their scores by more than 20 points prior to the report being published.
The professional organisation identified 25th Century Games, Fireside Games, Lunarpunk Games, Plaid Hat Games and UP Games as the highest-scoring publishers (in alphabetical order) in its review – adding that the benchmark was intended to help designers negotiate stronger agreements rather than discourage them from working with particular companies.
TTGDA’s inaugural Tabletop Market Contract Analysis report stated, “There is still a wide disparity from publishing contract to publishing contract, and key clauses we believe should be standard are not included in many of them.
“Unfortunately, many first-time game designers are so excited to receive an offer they accept terms that may cause them serious creative and financial issues in the future.
“We encourage all designers, even those signing a game publishing agreement for the first time, to negotiate confidently for their contracts to guarantee fair payment, a formal say in the final presentation of their work, solid protection of intellectual property rights, and control of their names and likenesses in publication and marketing.”
TTGDA pointed to five key takeaways in the report, alongside commentary about why the findings are important to designers. They were:
Only two-thirds of publishers offer a baseline advance above the TTGDA-recommended minimum of $1,000. 20% don’t offer any advance at all TTGDA said, “The publisher should have some “skin in the game” at the start of the project. We have seen situations where the publisher doesn’t pay an advance and then doesn’t start on development or artwork on the game for years. An advance incentivizes the publisher to move toward publication. At least part of the advance should be non-returnable and can be considered minimum payment for the agreement, compensating the creator for tying up the work, even if the publisher ends up canceling the project.
● 40% of publishers can make expansions without consulting the designer TTGDA: “The game concept is the designer’s intellectual property. The designer had a vision for the game and should have the opportunity to design any expansions or sequels, both for creative and financial reasons.
● 10% of publishers have unusual deductions to revenue before calculating revenue, such as manufacturing or marketing expenses. TTGDA: “These types of deductions are very difficult for designers to predict, track, and audit. They leave too much room for the publisher to manipulate figures and unfairly reduce royalties paid.
● One third of publishers do not allow designers to audit their books. TTGDA: “Audits are rare, but they’re an important protection. Without the right to an accounting review of the publisher’s records, the designer has little recourse if they believe they are being underpaid, other than resorting to a lawsuit, which can be lengthy and costly.”
● 75% of publishers hold onto the rights to the game name, even after the licensing agreement ends. TTGDA: “If the game gains any level of popularity, the designer being able to pitch the work to a new publisher under the same name will make it a much easier sale. Authors do not give up the titles to their books when they publish them, even if the publisher helped them retitle. The same should be true with game designs.”
The analysis also suggests designers often have limited approvals on the final product which bears their name.
None of the publisher contracts reviewed gave designers final approval over artwork or graphic design, while just 38% guaranteed designers the right to review production-ready files before manufacturing.
Only 10% allowed designers to remove their name from a game if they disagreed with creative decisions made during development.
TTGDA’s scoring rubric project was initiated over a year ago by its contract and grievance committee, consisting of industry veterans Geoff Engelstein, Elizabeth Hargrave, Matt Leacock, and James Lowder.
TTGDA co-founder and president Geoff Engelstein
Engelstein, president and co-founder of TTGDA, said, “These results are not a call to avoid specific publishers. Rather they are a tool for designers to negotiate terms that include fair payment, intellectual property protection, and a meaningful role in the final product.”
TTGDA vice president Sen-Foong Lim added, “Our intention is to shine a light on these industry practices and lead to more equitable standards.”
The organisation added that it would be releasing model contracts which adhere to the criteria established in its scoring rubric, to help designers and publishers work towards more equitable deals.
It also plans to release semi-annual updates to the Tabletop Market Contract Analysis as more contracts are reviewed and publishers revise their standard agreements.
Was 2016 mit drei Spielen begann, ist heute eine der erfolgreichsten Brettspielmarken der Welt. Hinter dem Erfolg von Exit – Das Spiel steht das Autorenpaar Inka und Markus Brand. Im Interview sprechen die beiden über gute Rätsel, das Geheimnis des Erfolgs und Paketzentren, die ihre Arbeit beeinflussen. Seit 2016 sind über 80 Exit-Produkte im Kosmos-Verlag erschienen – neben Spielen auch Adventskalender, Bücher und Puzzles. Exit zählt damit neben Marken wie Catan, Ubongo, Andor oder Die drei ??? zu den wichtigsten Umsatzbringern für Kosmos. Ihr entwickelt seit zehn Jahren Exit-Spiele. Macht das noch Spaß?Ja, das macht es. Wir entwickeln weiter, solange
A trio of veteran board game industry professionals have launched a new tabletop gaming agency, with the aim of helping businesses within the hobby get their games developed and into the market.
Hues and Cues designer Scott Brady, Sagrada co-creator Daryl Andrews and Friendly Skeleton CEO Jacob Way said Best in Play will offer everything from interim executive leadership and designer representation to publisher submission management and crowdfunding strategy.
Brady said, “Best in Play was created to bring together people and opportunities that should already be working with one another.
“Great intellectual properties need the right designers and publishing partners, designers need better access to decision-makers, and companies sometimes need experienced leadership without the time or resources required to build an entire department.”
Best in Play says its five core service areas comprise IP matchmaking, crowdfunding consultation, interim replacement of key personnel, publisher-inventor relations and identifying publishers and licensing opportunities for individual games, multiple projects or designer catalogues.
The company announced at launch that it has already been hired as a consultant for an unspecified US-based “creator-brand merchandising and e-commerce company”, providing senior-level leadership and games-industry expertise while the client continues its search for a permanent head of games.
Best in Play said that project will run the gamut of product development, licensing, publishing, production, crowdfunding and portfolio strategy.
Andrews said of the assignment, “An important initiative should not lose six months of momentum because a key role is temporarily vacant.
“Our model gives clients access to an experienced team that can step in quickly, evaluate the situation and keep products, partnerships and internal teams moving forward.”
The company is also working on a tabletop project based on an unnamed “major video game intellectual property”, with a crowdfunding launch planned for early 2027.
Way said, “A recognizable property may attract attention, but a successful crowdfunding campaign still needs the right product, positioning, audience strategy and operational plan.
“Our goal is to build campaigns that respect the fans, communicate value clearly and create a foundation for success beyond the initial launch.”
As well as the founding trio of managing directors, the Best in Play team also includes strategic contributors David Gordon, the co-creator of Finspan, Eastar Game Manufacturing founder and CEO David Du, Legend of the Five Rings: The Card Game co-designer Erik Dahlman and Daniel Pesante.
Brady previously launched his development studio A Game Studio at the start of 2024, following the 2020 release of the big-selling Hues and Cues and the success of his cat-themed abstract strategy Boop in 2022.
He previously spent two years as head of talent acquisition at Maestro Media, following several months working in investor relations, before leaving the company in early 2025.
Jacob Way, meanwhile, began his board game career as COO and co-founder of Deep Water Games, which for several years operated as a subsidiary of Ox Eye Media.
Deep Water, which is best known for sketching game MonsDRAWsity, spun out from Ox Eye as an independent business in 2022 under Way before rebranding as Friendly Skeleton.
The designer of hit mass-market board game Hues and Cues has launched a new publishing initiative to tackle one of the tabletop industry’s growing challenges: promising games sitting unpublished because publisher release schedules are already full.
Scott Brady believes many outstanding games never reach players not because they lack quality, but because publishers must plan their release schedules years in advance – and with only so many publishing slots available each year, excellent games are often left waiting for an opportunity that may never come.
Brady told BoardGameWire his Proof-of-Play model will make ‘limited edition’ runs of between 1,500 and 3,000 copies for previously unpublished games, in the hope a quick burst of sales will persuade larger publishers to take a chance on them and accelerate a wider retail release.
Scott Brady’s breakout design Hues and Cues || Photo Credit: The Op Games
He said the editions sold through his company A Game Studio would be offered direct to consumers and specialty retailers through channels such as B2B wholesale marketplace Faire, allowing each title to generate real-world sales, player feedback, and retail validation before presentation to larger publishing partners.
Brady added that the full license for the games – which will mostly be mass-market-friendly family titles – would remain with A Game Studio, which will sub-license the titles to other publishers.
He said, “Our goal isn’t to compete with traditional publishers, but to support them. Publishers make difficult decisions years in advance, and that is simply the reality of today’s market.
“Proof-of-Play gives great games the opportunity to prove themselves through actual customer demand, giving publishers more confidence and less risk when considering a wider release.”
The initiative launches with two games from external designers – area control card game Lock & Chain, and number combination card game Perfect 10 – with Brady telling BoardGameWire they helped inspire the concept after struggling to find homes with publishers despite being “amazing products”. “The timing wasn’t right”, he added.
Although Brady said he had not discussed the concept with publishers before launching the initiative, he believes it reflects a process that already happens informally across the tabletop industry, in which publishers hunt for successful games with tiny distribution and then take it larger – citing Qork as one example of that approach.
That game, which was initially self-published by designer Birger Norup as PlayProp back in 2015, was released as a Walmart exclusive by The Op in May this year – and has become something of a viral hit on social media sites such as Instragram and TikTok.
Birger Norup’s design Qork, published by The Op Games
Asked how he plans to help Proof-of-Play titles with the problem faced by publishers across the hobby – how to stand out among a vast number of releases – Brady told BoardGameWire, “I am personally staking my reputation on the games I choose to help.
“I do not need to invest in full marketing etc as the goal is to simply get the games out there and let their quality do the selling.
“By bypassing traditional distribution and relying on organic social media, my personal network and word-of-mouth, I hope this becomes a platform for many budding designers who would like to see their game on retail shelves.”
While some publishers make use of crowdfunding sites to validate demand before going into production, Brady said his model would be a better fit for the style of mass-market games he is targeting.
He said, “Crowdfunding is great for a $50-plus game looking to reach a hobby audience. This is for games with wider appeal. The games I choose will sell on their own merit and not because of crowdfunding hype.”
Brady launched his development studio A Game Studio at the start of 2024, following the 2020 release of the big-selling Hues and Cues and the success of his cat-themed abstract strategy Boop in 2022.
Brady’s own board game releases this year are set to include If Then, Wee Folk – which is co-designed by Stefano Di Maria and Rosa Linda Romano – Size Wise, Boop Shuffle and an expansion for Caution Signs, the fast-paced sketching game he co-designed with Danielle Reynolds.
Reinhold Wittig ist tot. Er starb am 11. April 2026 in Göttingen. Mit ihm verliert die Spieleszene einen ihrer kreativsten Köpfe. Ein Nachruf auf einen Künstler, Verleger, Autoren und auf sein Perlhuhn. Weder ein Nilpferd in der Achterbahn, noch Schlangen auf Leitern können es mit dem Perlhuhn aufnehmen. Das Tier hat die deutsche Spiellandschaft wie kein anderes geprägt, dank Reinhold Wittig. Wie ein Perlhuhn pickte Wittig alles auf, was ihm begegnete. Bierdeckel inspirierten ihn ebenso wie Würfel. Schrott wurde zu Kunst, Ideen zu Veranstaltungen. Er erfand Hunderte Spiele. 1976 gründete er den Verlag Edition Perlhuhn, 1983 das Spieleautoren-Treffen in Göttingen,
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