→ April 18, 2020
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Stick to baseball, 4/18/20.

My book, The Inside Game: Bad Calls, Strange Moves, and What Baseball Behavior Teaches Us About Ourselves, will be out in three days! You can buy it wherever you can buy books right now, but allow me to recommend bookshop.org, which sources books from independent bookstores or just gives some of their proceeds from direct sales to indie stores.

For The Athletic subscribers this week, Eno Sarris and I examined the five tools for position players from both scouting and analytical perspectives. There will be another piece for pitchers, which I hope to get done this week (I think Eno’s well ahead of me for his part). On my own podcast, I spoke with former Angels scouting director Eddie Bane about Mike Trout, all-time draft busts Bill Bene and Kiki Jones, and more. You can subscribe here on Apple and Spotify.

On the board game front, I reviewed Oceans, the new standalone sequel to the game Evolution, over at Paste this week. For Vulture, I looked at pandemic-themed games, including the one by that name, with thoughts on why diseases are such a popular theme.

I did a virtual bookstore event with Harrisburg’s Midtown Scholar on Thursday, which you can watch here if you missed it. I’ll do another such event on Friday, April 24th, with Sean Doolittle via DC’s Politics & Prose; you can sign up by buying a copy of The Inside Game here.

I spoke to Ryan Phillips of The Big Lead about The Inside Game and my move to the Athletic, among other topics, appeared on the Sports Information Solutions podcast with my former ESPN colleague Mark Simon to talk about the book, and talked about boardgames during quarantine on the Just Not Sports podcast.

And now the links…

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→ April 14, 2020
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Bombshell.

Bombshell (Apple/Amazon) feels very much like Vice for the #MeToo movement, taking a true and important story – the downfall of Roger Ailes as his decades of sexual harassment and assaults came to light – and trivializing it through an excessively slick, shallow script that is only salvaged by strong lead performances from Charlize Theron and Nicole Kidman. I was entertained, as I was by Vice, but I was not informed, and I don’t think the movie did enough to explain how the situation was allowed to persist.

The script has a glib approach where Megyn Kelly (Theron) and Gretchen Carlson (Kidman) often break the fourth wall to tell the viewers background information relevant to the story, such as how Fox News operates behind the scenes or what Ailes’ history was prior to founding Fox News and building it into the country’s biggest cable news network. Bombshell then takes us through three roughly simultaneous storylines, one around each of the three main women in the film: Kelly’s meteoric rise at the network and Donald Trump’s subsequent attacks on her after she challenged him on his history of mistreatment of women; Carlson’s lawsuit against Ailes for sexual harassment, claiming she was demoted from her show for illegal cause; and the fictional Kayla (Margot Robbie), a wide-eyed ingenue who calls herself an “evangelical millennial” and ends up another Ailes victim. The three stories eventually intersect as Kelly and Carlson independently look for other women to speak up against Ailes. (Ailes and Fox settled with Carlson, Fox paid off Ailes’ contract by way of firing him, and Ailes was dead within a year.)

Bombshell looks incredible. Theron is a ridiculous likeness for Kelly between the hairstyling and makeup, for which the movie won its lone Academy Award, and her mimicry of Kelly’s voice and delivery. Kidman’s not quite as dead a ringer for Carlson, but is pretty close. I thought John Lithgow did his best with Ailes, making him into a blustering, lecherous tyrant, although the physical resemblance isn’t there. Nearly every on-air personality at Fox who gets a moment in this film is played by someone who looks just like them, however, which you could view as incredible dedication to verisimilitude, or a big fat missing of the point, that it is story that matters, not imitation.

Theron and Robbie were both nominated for awards, Theron for Best Actress and Robbie for Supporting, but I don’t think either deserved the win and thought Robbie was better in a smaller role Once Upon a Time in Hollywood. Kayla is written so thinly and Robbie has no room to do anything except show some gross emotions, mostly because she’s a prop for the plot, not an actual person or a fully-developed character – she’s there to give Ailes someone to harass while we watch.

And that’s biggest problem with Bombshell: it’s so concerned with making things look right that it doesn’t bother telling the story behind the story. How Ailes got away with this for nearly twenty years – and probably longer, although the story doesn’t touch anything he did prior to Fox News – is never addressed, nor does the story touch on the toxic corporate culture within Fox News, or why the Murdochs didn’t care until they did care, or, perhaps most interesting of all, why so many women stayed quiet. If anything, the movie blames the victim a bit when Kayla confronts Megyn to ask why she waited ten years to talk about Ailes harassing her. It’s a jarring, wrong note for a movie that seems so eager to tell you it’s right. This story, and these women, deserved a lot better.

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→ April 11, 2020
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Stick to baseball, 4/11/20.

I didn’t publish anything this week at the Athletic, but hope to have two pieces up next week, as well as a new review at Paste and possibly new pieces at Ars Technica and Vulture as well. I did hold a short Persicope video chat on Friday.

My second book, The Inside Game: Bad Calls, Strange Moves, and What Baseball Behavior Teaches Us About Ourselves, is due out on April 21st from Harper Collins, and you can pre-order it now via their site or wherever fine books are sold.

My publisher is holding a contest where one winner will get a 30-minute chat with me before the baseball season starts, and several other entrants will win free copies of The Inside Game. You can enter for free here.

Also, check out my free email newsletter, which I say I’ll write more often than I actually write it.

I appeared on the Big Fly Baseball podcast this week and spoke with WHB’s Soren Petro about the shutdown, the draft, and the Royals for almost a half an hour.

And now, the links…

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→ April 9, 2020
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Nagaraja.

Nagaraja is the latest two-player game from Hurrican, the boutique publisher in the Asmodee family that produced the two-player dice-rolling game Kero. Co-designed by Bruno Cathala (Kingdomino, Five Tribes), Nagaraja combines tile-laying and dice-rolling in a game of medium complexity that seemed like it had one rule too many for a game that doesn’t allow for a ton of deep planning – but it might fit for players who want something slightly heavier in their two-player games.

Players in Nagaraja each start with a blank 3×3 board that has nine relic tiles randomly distributed face-down around three sides, with the fourth side, facing the player, providing three entrances for the player to start building paths to the relics. On each turn, the players will play cards to bid for a tile, revealed at the start of the turn, that they’ll be able to place on their boards. The tiles all show different configurations of paths, and once a player has completed a path from an entrance to any relic tile, they flip that tile over and gain anywhere from 3 to 6 points. The first player to rack up 25 points wins the game, but your 6-point relic tiles are cursed, and if you reveal three of them you automatically lose the game. 

The cards and the dice are really the essence of the game, though, as just acquiring enough tiles will eventually get you the relic points you want. The cards have two parts; the top part shows some combination of the game’s dice, while the bottom shows some kind of game function like letting you rotate a tile you’ve already placed, giving you additional cards, or adding ‘fate points’ to your dice roll that turn. You choose one or more cards for their dice symbols on each turn, which means you won’t use the benefits on the bottom of those cards, and then roll the dice, which are called ‘fate sticks,’ four-sided rectangular prisms in three different colors. All dice have different numbers of fate points on some sides; the brown dice have the most, but don’t have any of the other symbols, ‘nagas,’ that give you the right to play cards, while the white and green dice do. After your roll, if you have any nagas showing, you may play one card per naga. Once both players have passed, they compare all of their fate points showing on dice and cards they’ve played; the tile goes to the player with the most fate points, and to the start player if there’s a tie.

There are two card functions that seem especially valuable, to the point that you’d probably never want to play them for their dice unless you have no choice. One type lets you peek at one or two relics – yours or your opponent’s – which is almost solely about figuring out where the cursed ones are. You can use other cards to switch relics, including your opponent’s, so in theory you could switch your opponent’s to make them lose the gamer. (You can’t swap one of your relics for one of your opponent’s, however.) The other type that seems especially valuable lets you gain two cards, it’s valuable because you don’t automatically replenish your hand each turn. The player who doesn’t win the tile in a round draws three cards, keeping two and handing the other player the third. Thus it doesn’t take very long to run short of cards, and a big part of your strategy has to involve gaining cards.

Nagaraja also has some take-that cards in the game, including one unique card that lets you place a separate tile with no paths on your opponent’s board, and cards that let you move or rotate your opponents’ tiles. It seems like those cards are useful if you really fall behind, but if you’re close it’ll probably be more productive to try to build out your own board, especially once you know where your 6-point relics are.

Some tiles have spaces for amulet tokens, which can be worth 1 or 2 points, let you draw extra cards (the most valuable), or let you cancel the effect of a card your opponent has just played. This felt like the one game feature that was a rule too many, just one feature that the game didn’t need and that added more pieces to manage on the table without a huge benefit. Those functions could have been on cards, for example, although the amulets are kept secret from your opponent. You’re managing cards, rolling dice, placing tiles, creating paths on your board (and maybe rerouting them to get to different relics), and also have a couple of amulets. Somehow it all added up to one game element too many – but there’s also a strong balance here of strategy and randomness, and the game is fairly well balanced for two players, with the potential for high interaction between them. It’s a solid game that didn’t speak to me, one I can see is objectively good but probably won’t play that much myself given the other two-player options I have in the house.

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→ April 6, 2020
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Lent.

Jo Walton’s Among Others was one of my favorite novels from my reading of (nearly) all of the Hugo winners, a perfect use of fantasy elements to elevate a brilliant story, rather than relying on the fantasy (or sci-fi) bits to provide the entertainment. Her latest novel, Lent, goes a bit further in leaning on a single fantastical quirk to take the real-life story of Girolamo Savonarola, a martyred monk in 1490s Italy who was believed to have the gift of prophecy, and turn it into an extensive meditation on how small choices in our lives can have extensive, long-lasting effects on our world.

The first third or so of the book seems like a straightforward telling of the last six years of Girolamo’s life, from 1492 until the infamous “bonfire of the vanities” that led to a turning of public sentiment against him and his eventual imprisonment, torture, and hanging at the hands of the “do as we say, not as we do” Catholic Church. Girolamo preaches against corruption and secular art, gets under the skin of the Pope and other powerful clergy, and eventually they manage to win the political battle and execute him. After his death, however, we learn something about Girolamo before he returns to earth, back in 1492, to try it all over again – but this time with the knowledge of what transpired in his previous life, as well as that new bit of information, and thus can alter his choices to see if he can get the outcome he ultimately desires. He’ll fail again, return to earth, make new decisions, fail again, and so on until the final chapter where we will learn if he gets it “right” in the last attempt in the novel.

That conceit itself isn’t new, but the reason Girolamo gets to play life as a sort of role-playing game where he restarts from his last save is a new twist that provides a stark backdrop to the choices he makes – and, in many ways, makes some of them more selfless than before. Walton thus gives us a meditation on free will and chaos theory within a story about grace and salvation, one that upends traditional Catholic theology while playing around within its borders. There’s a slow build in the first section, but once you see what’s going on, and Girolamo himself is armed with the same knowledge, the entire concept becomes more interesting, and every subsequent decision that he makes carries much more weight, even when you know that it’s going to ultimately fail and lead him back to restart the cycle from some point in his past.

Girolamo himself makes for a fascinating protagonist as Walton writes him, although I think she’s softened his character a little to emphasize his generosity of spirit and belief in the church as a way to spread the religious and mundane philosophies of Jesus Christ in the world, thus deemphasizing to some extent his puritanical beliefs and attacks on secular art and culture. There’s one scene of a burning of secular or “profane” works, although even within that Girolamo is presented as more resigned to the event than the fanatic he appears to have actually been. He becomes friends with more than one character who is committing adultery, including a woman who would certainly have been seen as “fallen” in that time, which seems like it may not have been consistent with the actual Girolamo (although it’s a reasonable use of poetic license).

The magic of Walton’s writing seems to be in the getting there more than the destination itself, as I think it’s fairly clear where Lent is likely to end; it’s how Walton gets to that point that captivates. I wish she’d been able to give a bit more depth to the panoply of characters around Girolamo, many of whom are interesting even when a bit two-dimensional and just required more page time to help flesh them out, but the main character is so fascinating – as is the side character Crookback, whose real-life identity may be apparent to astute readers – that the book still soars without it.

Next up: José Saramago’s The Double.

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→ April 5, 2020
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English muffin bread.

When I was a kid, my grandmother made a very specific type of bread for me and my sister that was a staple of our diets, something we’d eat every day for breakfast for about a week until both loaves were gone. It’s a very simple milk bread, but toasted with butter it’s amazing, and, of course, now every bite evokes many memories of childhood and of my grandmother, who died in 2014 seven months after her 100th birthday.

I’ve had the recipe since I left college, but I made it maybe once or twice before she died, even though she pretty much stopped making it in her early 90s when she lost the forearm strength to knead the dough. She died right after Christmas in 2014, and after I came home from the funeral, I made the bread for the first time in years as a way to remember her while I grieved. My daughter loves the bread too, and we make it a few times a year, usually together now because she’s turned into quite a good cook as well. I think my grandmother, whom my daughter was lucky enough to know and will always remember because she was 8 when my grandmother died, would be so happy to know we’re still making that recipe today.

I made this bread last week and posted pictures on my Instagram account, where several of you asked in the comments for the recipe, so I’m posting that here. This recipe calls for instant yeast, which is all I use – I buy bricks of the SAF brand, usually from King Arthur, and keep it in the fridge for years. If you use rapid-rise yeast, you should follow the instructions on the package for that. Also, my grandmother always used all-purpose flour; I have also made this with bread flour, which produces a stronger loaf with a tighter crumb.

English muffin bread

1 cup milk

2 Tbsp sugar

1 tsp salt

3 Tbsp butter

1 cup water

2¼ tsp instant yeast

5 ½ cups (675 g) flour

corn meal for dusting

1. Scald milk, then stir in sugar, salt, and butter till dissolved. Add water to bring to lukewarm (about 115 F).

2. Add yeast to flour, then combine with liquids and stir until a dough forms. Knead about ten minutes on a floured surface until tacky but not sticky.

3. Place in an oiled bowl and let rise until doubled, about one hour.

4. Divide the dough in half, shape into loaves, roll in corn meal (optional), and place into oiled loaf pans. Let rise again until doubled, about another hour.

5. Score the tops of the loaves and bake 25 minutes at 400 degrees, rotating once. Remove from the pans to cool on a rack as soon as you can handle them.

If you’re really into making bread, I can’t recommend Peter Reinhart’s books highly enough, including his Bread Baker’s Apprentice, Whole Grain Breads, and Artisan Breads Everyday.

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→ April 4, 2020
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Stick to baseball, 4/4/20.

I had two new pieces for subscribers to the Athletic this week, one on the great 1980s video game Earl Weaver Baseball (for which I spoke to one of its lead developers), and one with the latest on MLB’s plans for minor league realignment and contraction.

On the gaming front, I had nothing new this week but have a few more pieces filed. Last week, I reviewed ClipCut Parks, a new “flip-and-cut” game that is great for younger kids who love using scissors but not much of a game for older players, for Paste. For Vulture, I updated my ranking of the top 25 board game apps available on mobile platforms. For Ars Technica, I reviewed the new app version of the legacy game Charterstone.

My second book, The Inside Game: Bad Calls, Strange Moves, and What Baseball Behavior Teaches Us About Ourselves, is due out on April 21st from Harper Collins, and you can pre-order it now via their site or wherever fine books are sold. Also, check out my free email newsletter, which I say I’ll write more often than I actually write it. To be perfectly honest, I just haven’t felt up to writing that lately.

And now, the links…

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→ April 3, 2020
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Music update, April 2020.

Well, we’re all home now – or ought to be – so let’s listen to some new music, nineteen songs this month, most of which just appeared in March. If you can’t see the widget below you can access the playlist directly here.

Moses Boyd featuring Poppy Ajudha – Shades of You. Boyd’s new album, Dark Matter, is the most interesting record I’ve heard since black midi’s Schlagenheim came out last June, and a lot more accessible at that, often evoking the same hypnotic, avant-garde vibe that Radiohead approached on Kid A and Amnesiac. A jazz drummer and producer, Boyd mixes pulsating instrumentals with tracks that feature guest vocalists, including this song, the album’s best thanks to searing vocal work from the south London singer Ajudha.

Waxahatchee – Can’t Do Much. Katie Crutchfield’s latest album, Saint Cloud, dropped last Friday, and is her most complete work yet, with “Lilacs” and this song the two standouts for me so far.

MID CITY – Forget It. An energetic power-pop track about gaslighting from a Melbourne quartet, with a strong flavor of the Killers circa Hot Fuss.

Artificial Pleasure – Lose Myself Again. I’m not sure exactly what it is about Artificial Pleasure that makes me think I’m listening to Heaven 17 sent forward forty years through a time machine, but I’m here for it.

Purity Ring – peacefall. Purity Ring’s latest album, WOMB, just came out this morning, including this single and February’s “stardew.”

Myrkur – House Carpenter. Myrkur, the nom de chanson of Danish musician Amalie Bruun, started out as a bizarre hybrid of dark folk music and extreme metal, but her latest album, Folkesange (Folk Songs), dispenses with blast beats and heavy guitar work in favor of traditional sounds that wouldn’t be out of place on an album from the Chieftains.

ARCADES featuring Prides – Stars. ARCADES have written numerous hits for K-Pop acts BTS and TXT, with just a few singles they’ve recorded themselves; this latest hit my radar because of the presence of the Scottish duo Prides, whose indie-pop sound blends quite well with ARCADES’ songwriting here.

Phantom Planet – Time Moves On. I remain pleasantly surprised by the return of Phantom Planet, and the fact that their new singles have been pretty good, although I think last year’s “BALISONG” is the best of the lot so far.

Catholic Action – Another Name for Loneliness. Catholic Action’s Celebrated by Strangers has earned some rave reviews from independent music press on both sides of the Atlantic, although I found the album a little light on hooks overall; this is my favorite track from the record, reminding me a bit of “Love Vigilantes” due to the main guitar riff.

Allie X – Sarah Come Home. The singer/model Alexandra Hughes released her second full-length album, a concept work called Cape God, in late February; it’s uneven, as her first album CollXtion II was, with this song the best on the album, an upbeat dance-pop track that contrasts with the darker tones on the record as a whole.

Adam Snow, Freddie Gibbs, Tedy Andreas – 9 to 5. Producer Snow’s name comes first, but Gibbs is the star here; the moment Houston rapper Andreas shows up he sucks most of the energy right out of the track, although I enjoyed his name-check of my former colleague Dan Le Batard.

Alkaline Trio – Minds like Minefields. Alkaline Trio released a three-song EP in March just called E.P. after their spring tour was cancelled, with this anthemic punk-pop track released as a single.

The Wants – Motor. This NYC trio show some heavy post-punk influence, unsurprising as lead singer/guitarist Madison Velding-VanDam has spoken about his love of Gang of Four. “Motor” was originally an instrumental track, but the spoken-word vocals that appear about halfway through definitely add to the song’s appeal by breaking what might have been a bit of a monotonous guitar riff otherwise.

Fake Names – Brick. Fake Names is a punk supergroup with members of Refused, Bad Religion, Minor Threat, and other bands. This lead single from their upcoming, self-titled album isn’t even two minutes long but is definitely a throwback to the heyday of melodic hardcore acts like BR and the Descendents.

Poppy – Concrete. I have no idea what to make of Poppy, a singer and Youtube personality who blends bubblegum and J-Pop elements with brief bursts of highly polished heavy metal. She has a fan base that’s independent of her music, based on her videos, her graphic novels, and I think her overall persona; I obviously am not in tune with any of that, but this song is weirdly catchy even though it feels like two completely disconnected tracks that have been smushed together in post-production.

Moon Destroys featuring Paul Masvidal – Stormbringer. Moon Destroys are a new progressive metal project with former members of Royal Thunder and Torche, with a new sound that blends prog and stoner/sludge metal sounds. Their first single featured Troy Sanders of Mastodon, while this has Paul Masvidal of Cynic on vocals … speaking of which, I just learned that former Cynic and Death drummer Sean Reinert died in January at age 48, which is awful news.

Wolf – Feeding the Machine. The title track from Wolf’s first album in six years shows that not much has changed for these guys, who seem firmly stuck in the late 1980s musically, with classic thrash sounds that would have fit well in the San Francisco sounds of that era.

Kreator – 666 – World Divided. Mille Petrozza’s voice has taken a beating – he sounds older than 52 on this track – but these guys can still bang out thrash riffs with the best of them.

Testament – Children of the Next Level. Testament just released their 13th studio album, Titans of Creation, this morning; I feel about this record as I have about most of their music in the last decade, that guitarist Alex Skolnick is still an iconic author of thrash riffs, and a tremendous shredder, but the songs all leave me a little short of compelling hooks. I like Testament, but I don’t attach to their songs the way I have with many of the other pioneers of thrash.

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→ March 31, 2020
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The Souvenir.

Joanna Hogg’s autobiographical coming-of-age drama The Souvenir made a slew of best-of-2019 lists, taking the World Cinema Grand Jury Prize at last year’s Sundance Film Festival and winning Sight and Sound‘s poll for the best film of 2019. My friend Tim Grierson has been a big advocate of the film, ranking it 7th among films of last year, and of director Joanna Hogg, which was really enough to get me to watch it. It is a very British movie, understated and often ponderous, but it’s bolstered by two very strong performances by the leads and the resolution gives a real catharsis to everything the film has asked you to endure up to that point. (It’s streaming now on Amazon Prime.)

Honor Swinton-Byrne plays Julie, a 24-year-old would-be filmmaker, in film school at the moment, who meets a Foreign Office staffer in his mid-30s named Anthony (Tom Burke) and almost falls into a desultory affair with him, despite his secretive nature and tendency to subtly put her down. It seems like he’s gaslighting her from the start, but it becomes more evident when he starts to borrow money from her – despite him having a job that often sends him abroad, while she’s a poor student – and eventually she learns via a friend of his (Richard Ayaode) that he’s hiding a heroin habit. She’s too enamored of him to leave, however, despite his increasing duplicity, and the relationship begins to consume her as Anthony’s situation gets worse.

This is a very slow burn until the last quarter of the film; there are no screaming fights, no violence, just a few verbal confrontations where Julie ends up apologizing even though Anthony is clearly in the wrong. It’s painful to watch her abase herself for a man who has never shown himself to be worth this kind of devotion; I’m not even clear what his redeeming qualities are supposed to be, as he’s not charming, good-looking, or kind. What finally pushes her to the breaking point is several steps beyond what a rational person would need to say ‘enough,’ but that’s the emotional center of the film – just how far Julie has fallen into this trap, and how easily it happened to her. There have been many entries in the “young woman falls for a feckless, manipulative, older man” genre, but this one, based on Hogg’s own life in film school in the late ’70s, feels extremely realistic because it doesn’t have the Big Moments and never comes across like a film trying to make you feel something specific.

Swinton-Byrne is very convincing as Julie, imbuing the character with naïveté rather than just innocence, and making it a bit more plausible that she’d fall under Anthony’s spell because she seems so lonely in the early scenes – and thus more appreciative of someone, especially an older man, giving her attention. Burke does what he is supposed to be doing with Anthony, although the attraction of such a mopey, vaguely derisive man is beyond me; he does carry himself with an air of sophistication that might explain it, although perhaps it’s just the upper-class English accent that got me. Ayaode is only in one scene, but he grabs the whole thing from the two leads and utterly owns that entire conversation – sitting next to his real-life wife, Lydia Fox, as they talk – while not just delivering a key piece of information to Julie, but doing so with a unique affectation that totally commands your attention. Swinton-Byrne’s mother, Tilda Swinton, appears in the film as Julie’s mother, although her character is something of a cipher and she has little to do until the last few scenes.

The Souvenir is quite good, but also so slow and quiet in parts that it feels almost expressly anti-commercial: The audience for this sort of movie is very small, a set that probably comprises fans of art house films, Anglophiles, and not a whole lot more. I liked it, but I can’t say I enjoyed it, between the pace and the horror of watching Julie so unaware that Anthony is taking advantage of her. It’s a film to be appreciated, rather than one that seeks to entertain.

—

I’ve seen 31 movies from 2019 so far, and I have three more I’d really like to see before closing the book on the year, so to speak, all of them foreign-language films. Two are streaming now on Hulu, Portrait of a Lady on Fire and Monos, while the third will stream on Amazon Prime in about two weeks, the Oscar-nominated Les Misérables. (Amazon also will premiere the Brazilian submission to the 92nd Oscars, The Invisible Life of Eurídice Gusmão, this Friday). I’ll probably watch the first in the next few days, and then I’ll rank the movies I’ve seen from 2019, but if you have suggestions I’m all ears.

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→ March 30, 2020
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Queendomino.

Bruno Cathala won the 2017 Spiel des Jahres for Kingdomino, a very simple, quick-playing game of tile-laying that’s cleverly balanced and playable for just about any age. On each turn, four domino-like tiles with two terrain squares and sometimes with one or more crowns on them will be laid out for the players to choose. The catch is that the tiles are placed in numerical order, where the more valuable tiles have higher ranks, and choosing a more powerful tile drops you in the selection order for the next round. Play continues until all the tiles are gone, by which point each player has at least had the chance to create a 5×5 grid around their starting square (twelve tiles per player). It’s super easy to learn and play, but there is plenty of potential for some strategic play if you’re all reasonably experienced gamers. It’s also one of the least expensive games on my top 100, usually selling for about $15.

The game’s runaway success led to a significant expansion called Age of Giants, that added new components and tiles as well as pieces for a fifth player to join; a roll-and-write two-player version called Kingdomino Duel that I thought was only tangentially connected to the original; and Queendomino, a standalone sequel game that you can play together with Kingdomino. Queendomino has also proven popular, but I think it does everything wrong: It adds complexity to the original game without making it more enjoyable, and probably doubles the game length.

The biggest difference in Queendomino, played by itself, is the introduction of red terrain squares that show construction sites, on which you can add single-square tiles with completed buildings that award you bonus points, mostly variable based on other things you’ve built on your grid. You buy those tiles based on a sliding scale, with the tile on the rightmost space in the market free and each one to its left costing a coin more. Some tiles let you place knights, which collect taxes based on the size of the area on which you just placed a knight, while others let you place towers, which can be worth points at game-end. The player with the most towers at any time gets the Queen token, which gives you a one-coin discount on any tiles you buy from the market.

The end-game scoring brings along the mechanics from the original game, where you multiply the number of squares in each contiguous area of any terrain (color) by the number of crowns on squares in that area, while adding bonuses from the construction tiles based on how may distinct areas you have, how many knights/towers you have, or just a fixed point value. The Queen token goes on the board of the player who has it as an additional crown, so it can easily be worth another 8-10 points. 

I could understand the criticism of Kingdomino that it’s too simple; I personally prefer games that are more complex, whether I’m playing with family and friends or whether I’m playing online. But if you have a limited amount of time, or are playing with any kids 8 or younger, it’s perfect – you can rip through a game in 15-20 minutes and it is incredibly easy to teach. But Queendomino ruins Kingdomino’s simplicity with needless complexity: it makes individual turns take longer and makes your current score harder to calculate at a glance. Some games just don’t need to be busied up with additional rules, especially not those that make the down time between your turns take that much longer.

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