→ June 30, 2026
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Music update, June 2026.

June was heavy, in a good way – this list has more psycheledic rock, post-hardcore, or metal tracks than most of playlists do. If you want to rock out, I have a few songs for you. As always, if you can’t access the widget below, you can access the playlist on Apple Music or Spotify.

Mastodon – Your Ghost Again. How could I start this playlist with anything but this new track from Mastodon that pays tribute to former member Brent Hinds, who left the band (or was kicked out) in March of 2025, then died in a motorcycle crash in August?

Jack White – Dollar Bill. I’m very into this new Jack White vibe, which seems to be carrying over from 2024’s No Name, such as on that album’s “Archbishop Harold Holmes.” (That track got a surprise video last year starring John C. Reilly, who came up with the concept. It played at Tribeca this spring.) White’s new album Frozen Charlotte comes out on July 10th.

Liminal – The Crop. Unabashedly late ‘60s psychedelic rock, very in line with what Temples typically does but a little darker in tone. Hailing from the Northern Rivers region of eastern Australia, this quartet has put out two albums to date, and promised a new and more experimental one this year, with this the only song released so far.

Temples – Glimmer. Oh, hey, speak of the devils. Bliss came out on Friday and it’s more of the usual, which is a good thing in my mind, as I love Temples’ guitar-forward psychedelia.

Pond – Skyworks. More psychedelic-rock, although Pond’s flavor is more experimental than Temples’ is. This Australian band put out their latest album, Terrestrials, on June 19th, and it’s a little more pensive than their last few albums – I didn’t find anything as immediately compelling as “Neon River” or “America’s Cup,” but songs like this one, which is more powered by the beat than the guitars, still landed for me.

Les Big Byrd – Artificial Sunlight. Sticking with a theme, this is a psychedelic-space rock group from Stockholm whose latest album Ruin Everything came out on June 5th. The first track is called “Hökvind” (featured on one of my previous playlists) if you want a sense of what they sound like.

The Afghan Whigs – Jungle Roux. The Whigs will release their tenth album, Soft Control, on August 21st, featuring this driving lead single. I was never into the band in their 1990s heyday, but I’ve really enjoyed their second phase, especially 2017’s In Spades.

Suede – Emotionally Unavailable. Suede continues to evolve and surprise; this extra track from the deluxe edition of their 2025 album Antidepressants is in that album’s post-punk vein, but has a harder edge and rocks out in a way they haven’t really done much since their 1990s peak.

Quicksand – Crystallize. Another band I didn’t get into in their original tenure – which, in Quicksand’s case, lasted just two albums, and came way before I was at all a fan of what is now called post-hardcore – but whose work post-reunion I’ve loved. Their fifth album, and third since they got back together, is titled Bring on the Psychics and comes out on July 17th.

Zoh Amba – Dead End Street. Amba is a multi-instrumentalist whose previous output was mostly free jazz, but on their latest album, Eyes Full, they’ve changed it up to a hybrid of alt-country and grunge to better tell stories of their childhood growing up in Kingsport, Tennessee.

beabadoobee – Sun Has Set. Beabadoobee’s fourth album, Pylon, comes out in Septeber; this lead single is a real rocker, and while it’s still clearly her sound, it feels like there might be some Olivia Rodrigo inspiration behind it.

Big Truck – Central Reservation Blues. Big Truck is the brand-new side project by Laurie Vincent, who is half of the English punk band Soft Play (ex-Slaves), but there’s no punk at all on this jangly indie-pop song or their other released track, the jazzier “Collided.”

feeble little horse – Poison. Bitknot is probably going to end up on my top albums of 2026 list; that swirling guitar lick between the verses here is a good example of why. It’s their first album since their founding guitarist left the group, but I don’t think I’d have noticed had I not read that fact, because this is still guitar-driven rock, pop and anti-pop at the same time, with harsh and even dissonant rhythms set against sweet melodies in the vocals and some of the lead guitar.

Slow Pulp – Better Man. I was mixed on Slow Pulp’s last album, 2023’s Yard, preferring their harder, more grunge-tinged stuff to some of the material that better matches their name. This track is the former kind – heavier, very ‘90s alternative rock, with a great hook in the chorus.

Young Empress feat. Prides – Never Enough. Young Empress is a duo of two unrelated people with the surname Davies, hailing from the West Midlands; Prides is now a solo act of Stewart Brock, the only remaining member, whose distinctive singing voice helps elevate this electro-pop song to something more demanding of your attention.

Rosa Walton – Romance is Dead On. Both members of Let’s Eat Grandma put out solo albums this year; Walton’s was my preference over that of bandmate Jenny Hollingsworth (who records as Jenny on Holiday). Both record in the same experimental dance-pop vein as their main band does, though, and I didn’t find either solo album that much a departure from LEG’s stuff.

Wishy – Lovesick. Wishy’s 2024 debut album earned them plaudits all over the music press, but I found most of it lacking in hooks, other than “Triple Seven,” which landed at #91 on my top songs of that year. This one is fucking banger, though. I name-check Velocity Girl a lot around these parts because that specific sound – power pop with distinctive, bright vocals above a rougher-edged backdrop – will always speak to me, and this song does it, too.

Meg Stalter feat. MUNA – Gay. It’s a novelty song, but kind of slaps? I have to admit I always thought Stalter’s Pride Month corporate videos were a riot, so perhaps I was primed to like this.

La Sécurité – Deny. La Sécurité started as a side project during the pandemic, but their debut album Stay safe! was such a success that they’re back with a new album, Bingo!, featuring more of the same dance-punk from the first LP.

Lakecia Benjamin feat. Terence Blanchard – Beyond the Dawn. Jazz saxophonist Benjamin released her new album We Dream on June 5th; this track includes jazz trumpeter Terence Blanchard, twice nominated for Oscars for his scores for Spike Lee films.

Yard Act – New Beginnings. This post-punk band’s third album You’re Gonna Need A Little Music drops on July 17th; their sound continues to evolve from their first record, which was practically an homage to Gang of Four, to something more expansive musically, merging art-rock and even alternative hip-hop with that post-punk basis. This track has a very slow start, but the back half pays off with layers of sound behind an intense chorus.

Trashcan Sinatras – Melodramatic. This was actually the third single from the Scottish band’s upcoming album Ever the Optimist, due out July 31st, and came out in May, but I prefer it to the June release “Games for the ZX Spectrum,” which is more maudlin and lacks this song’s hook.

Car Seat Headrest – Joe Drives Again. I’ve never loved CSH, mostly because of the vocals, but the vocals are more ‘normal’ here and it’s a catchy, bouncy melody. The first line of the chorus is definitely borrowed from another track that I can’t place.

Sleep – Have Spacesuit Will Travel (4;20 Flexi Edit). Sleep announced in June that guitarist Matt Pike is no longer part of the band after 25 years; their new lineup features Melvins drummer Dale Crover, ex-Void guitarist Bubba Dupree, and original vocalist/bassist Al Cisneros. I don’t know if this was related to Pike’s embrace of the work of antisemitic lunatic David Icke, but unlike most Sleep fans, I’m fine with them moving on. This song sounds a bit more commercial than what I think of when I think of Sleep, but I do like the melding of space rock and stoner metal, so I’m happy to see what else they produce.

Tygers of Pan Tang – Forevermore. Tygers of Pan Tang were part of the New Wave of British Heavy Metal in the late 1970s, churning out four albums over a three-year span, but their biggest success was a cover of “Love Potion No. 9” and they disbanded for about 13 years before original guitarist Robb Weir restarted the group in 2000. They’ve been prolific since then, with their new album Electifyed (due out in September) their eighth in 25 years, and frankly they sound pretty damn good. If you like Maiden, Priest, Angel Witch, or Saxon, this should be in your wheelhouse.

Lost in Kyiv – Liminality. Instrumental “post-rock” music from a Paris quartet, turning more towards metal on their third album (and changing the spelling of their name from Kiev). It reminds me a bit of Alcest, without the shoegaze/blackgaze elements.

Insomnium – Shadow Life. This Finnish melodic death metal band has put out some interesting stuff over their nearly 30 years, with flirtations with progressive/technical metal and even some overtly commercial elements – there are clean vocal harmonies in the chorus on this song – alongside the death growls. I can’t say I’ve listened to everything they’ve done since their great 2014 album Shadows of a Dying Sun, but this is the best track of theirs I’ve heard since then.

Warning – Night Comes Down. There’s doom metal, and then there’s Warning, who make Candlemass sound like EDM. Warning isn’t heavy like Cathedral; they’re slower, darker, more depressing musically. If you like Candlemass or Saint Vitus, check these guys out.

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→ June 29, 2026
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The Score.

Multiple people suggested C. Thi Nguyen’s book The Score: How to Stop Playing Somebody Else’s Game to me this spring, but I was way ahead of them, putting a hold request in at my library the week it came out. It is a book about games, although it is much more a book about philosophy and the modern world, and touches on games – good and bad – as a way to address how we are manipulated into pursuing goals or acting certain ways by the rules that other people or corporate entities set up to manage us.

Nguyen’s premise is that we are all, to some degree, playing other peoples’ games – passively choosing to do things that do not fulfill us or help us achieve our goals or just make us happy, because we are instead following what amount to scoring systems in all aspects of our lives. The simplest example is the pursuit of greater income over all else at work: If money is what truly makes you happy, then maybe that’s the right game to be playing, but for most people, money isn’t everything (once you have enough to meet your basic needs), and for nearly all people, there are diminishing returns to making more money, unless you’re a psychopath who needs to make more money than anyone else, in which case you are playing a different game as well.

Perhaps the most salient and accessible example Nguyen gives is health. The rise of personal health devices – I owned a Fitbit for about five years before I got sick of how they died every year and a half or so and became trash – has led owners or wearers to judge their health along a few specific scales, such as weight, BMI, resting heart rate, heart rate variability, and so on. None of these is an actual measure of health, and Nguyen points out that even defining what it means to be “healthy” in a global way is difficult at best, and probably impossible to operationalize in a practical sense.

Nguyen also discusses social media, even though he appears to be a very scant user – or perhaps he’s simply following his own advice. I recently hit 6000 followers on Instagram, a rather paltry number, and the app told me to celebrate it and gave me a graphic to share (I did not). Is the point of using Instagram, or any social media app, to amass likes or followers? I would argue it is not. Yet the rules of their particular game, in Nguyen’s framework, say that that is the point – this is how you measure success on Instagram, and therefore you should act accordingly. I gained followers particularly because of two videos I posted, one criticizing MLB’s proposal to the union, the other criticizing UNC’s head coach for abusing the arm of an 18-year-old pitcher on his staff. So should I post more critical videos to try to stir the pot and gain more followers and likes? Reader, I will not. That would be playing someone else’s game.

The Score is incredibly light and easy to read, certainly the most accessible philosophy or philosophy-adjacent book I’ve ever read. (It beats the pants off Sophie’s World.) The chapters are short, and most chapters are built around short anecdotes, many taken from Nguyen’s own life – I respect and appreciate how many quirky interests he has, some of which align with my own, like board games and cooking, and some of which don’t, like rock climbing (go around it) and yo-yo tricks (which I didn’t know was still a thing).

There isn’t much mention of specific games in The Score, which was a little disappointing because they would have provided some more specificity for Nguyen’s examples. He does mention The Mind for its elegance – it has a very short rule set, yet is very fun and offers significant replayability – and a few video games he likes, as well as the fact that he lost many hours to playing the original Civilization video game in college, which happened to me as well (fall of junior year … I was thoroughly addicted to it). I thought he might get more into the gamification phenomenon, where companies use various techniques like points, rewards, leaderboards, competition among friends or strangers, and so on to encourage users to engage in some specific behavior. Duolingo is gamified language-learning. I have mixed feelings on it; about two years of daily use got me to a very basic level of conversational Welsh, and I’ve been using it for German for the last nine months, where I’m probably also at basic conversation as long as you can forgive my incorrect word order. Verb at the end I get, but the rules for the stuff in the middle … well, Duolingo doesn’t teach that kind of material, because it can’t be as easily gamified. So am I learning languages, or playing a game about learning languages?

You don’t need to be a gamer of any sort to read and gain something from The Score, and to the extent that they’re marketing it as a book about games, that’s a mistake. This is a book about life; I’d call it a self-help book if that term didn’t have pejorative connotations. Nguyen subtly lays out how to figure out when you’re being played by someone who wants you to play their game, and then how to find the games, literally but more figuratively, that you do want to play, actions that will help you be happier and find fulfillment, whether it’s in your family, at work, or in your many hobbies. And if you’re reading this, there’s a good chance you’re too online like I am, and could use a reminder that every app and algorithm is trying to sucker us into playing their games, so the answer is to log off and play something else instead.

Next up: I just finished Big Fan by my friends Joe Posnanski and Mike Schur and began Gene Wolfe’s Shadow & Claw.

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→ June 27, 2026
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Stick to baseball, 6/27/26.

Nothing new this week at the Athletic, but I’ll have an updated Big Board and a reaction to the Futures Game rosters in the coming week, plus probably a scouting blog – I’ve been accumulating some notes but have been waiting for something big or wow or otherwise hook-worthy to lead the column. Getting Anthony Eyanson’s worst outing of the year – he was 90-93 and couldn’t find the plate – did not help matters.

I sent out a new edition of my free email newsletter on Saturday morning. You should sign up. Also, you should follow me on Instagram or TikTok, because I’m posting videos on both places now. Please don’t call me a ‘content creator.’ (Or an ‘influencer.’ I might die of shame.) I’m still on Bluesky first among all social media outlets.

And now, the links…

  • Speaking of the First Amendment, ICE agents found a woman who posted the name of the agent who killed Renee Good in Minnesota, Jonathan Ross, after he was identified in numerous news reports. The agents demanded that she take the post down. She has steadfastly refused.
  • Charlie Warzel writes in The Atlantic (gift link) about the myth of SpaceX, a meme masquerading as a company.
  • Cambodia’s crackdown on phone-scam compounds, where trafficked people were held captive and forced to mass-text or call potential victims, has put those people on the streets of Phnom Penh with no place to go and no easy way back to their home countries.
  • Rep. Pramila Jayapal (D-WA) warns Democrats not to throw trans people under the bus, on moral and strategic grounds. If you give up on the rights of one oppressed minority, the other side will go after another minority, and another, and another, because they have learned you won’t fight for them.
  • This New York Times piece on bank tellers stepping in to stop people, often the elderly, from falling for phishing scams is both heartening and depressing. Most people want to do good. We are also so far away from being able to manage and regulate the technologies that we use every day.
  • I nearly backed this Kickstarter for Sprout, an upcoming game about houseplants – a core interest of my wife – but couldn’t get enough of a sense of what the game is like, and at $39 it seemed a lot to commit for a game I didn’t understand. Which is a long way of saying it might be awesome, but I want to wait and see.

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→ June 26, 2026
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Ichor.

Ichor is the latest iteration of a Reiner Knizia game that dates back to 1993 and has been published under the names Tiku, when it was just an abstract game of moving pieces; and Battle for Olympus, which introduced some of the unique powers that you find in Ichor. This game, produced by Bitewing as part of their series of medium-box games that are heavier on the strategy, refines the powers from the preceding versions, while adding another board and several new characters you can use so that you can play the game differently every time. (You can buy Ichor at Amazon or Noble Knight.)

Ichor has two possible boards, a 6×6 board and a 7×7 one; the game is the same on either board, but the larger board gives each player another character and more stones. The goal of the game is to be the first player to place their last stone, or to put your opponent in a position where they lack any legal moves. You begin the game with your characters on the second row in from you – as in, the back row is empty – in random order.

On your turn, you take any of your characters and move it as far in any orthogonal direction as you wish, stopping if you run into any other character (yours or your opponent’s). You then place one of your stones on every place your character passed through, including the starting space. If any of those spaces contained an opponent’s token, they take it back and you replace it with one of your own.

Instead of taking a regular move, however, you may use any character’s one-time power. Those range from breaking the movement rules, like allowing diagonal movement or pushing another character or jumping, to more substantial changes that might end with one or more characters removed from the game. Thus the real strategic heart of Ichor is deciding when and how to use those powers to maximum advantage.

The base game comes with 8 characters for each side, one gods and one monsters, all drawn from Greek mythology. (I didn’t find the theme to be that connected to the game play or the specific powers of most of the characters, but it’s a Knizia game, so it’s not like I expected otherwise.) There’s an expansion that comes with some versions of the game – my review copy didn’t have it – that adds four characters for each side, along with Gates that you place on the board and that are activated when a character passes horizontally through it. Even with just 8 characters per side, you have 28 possible rosters for each player on the smaller board, and they can be in any order, so you can see how every single game will probably be unique.

Ichor is solid enough, but a bit fiddly with six (or seven) character powers to grapple with. It’s very chess-adjacent; chess pieces have their own powers as well, of course, but they’re permanent, and while they’re not exactly intuitive (stares in knight), they are mostly easy enough to remember, and have the benefit of hundreds of years of precedence. With Ichor, there will be a lot of looking at the reference card for your side to remember what’s at your disposal. I do love the idea of each character having that single use, so that activating it feels momentous, and you will often wonder if you should have waited for another opportunity.

I reviewed Iliad, a new two-player game from Knizia that was also published by Bitewing, in January for AV Club, and it’s the superior game across the board – pun intended. It’s tighter, mostly symmetrical, and evokes some of Knizia’s best, including Samurai, while Ichor seems more like a good idea at the core that has some bells and whistles added to make the game more interesting. I would play Ichor if you asked, but I’m asking you to play Iliad (Amazon, Noble Knight) over this one.

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→ June 20, 2026
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Stick to baseball, 6/20/26.

Four new posts this week at the Athletic: How the White Sox helped Jacob Gonzalez get his groove back, my redraft of the 2016 draft class, my look at all of the first-round misses from that year (and there were so, so many), and a story on Cubs pitcher Matthew Boyd’s efforts to help Ugandan kids and his collaboration with Connect Roasters on a new coffee release. (Full disclosure: Connect sent me a bag of Hope Blend, and has sent me other coffees to try in the past as well.)

You can sign up for my free email newsletter. You can find me on Bluesky for text-based commentary and links, and TikTok and Instagram for short videos, mostly on baseball.

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→ June 19, 2026
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First Giants.

First Giants is a rethemed version of the 2015 game Elysium, which had a pretty good theme of its own but ultimately didn’t work because the game ended before you could get anything interesting going. (I reviewed it for Paste/AV Club.) This new game is a streamlined Elysium that focuses just on the set-collecting aspects, ditching the card-drafting mechanic of the original, so that the game is faster but a little more random.

In First Giants, you’re trying to collect sets of fossil cards in five colors, numbered 1 through 3, each of which has an immediate or an ongoing power on it. There are four ‘depots’ or dig sites from which you select cards, with two cards at each site; once you’ve gone to a particular dig site, you can’t go there again until you recall all of your markers (you have four, but can recall them at any time). When you take a card, you use its immediate power if it has one, then check the cards still in your active area to see if any of them have a power that applies to give you points, amber, or the ability to transfer a card.

When you recall your markers, you choose for each one whether to take one amber token or to pay the numerical value on a card to move it to your collections. Once it’s in a collection, its power goes away, but you don’t score any cards that aren’t in collections. You can create collections of 1-2-3 in any single color, or three cards of the same value in different colors. There are news tokens that you claim when you have the largest set of each type, and if you’re the first to get a set of three in any type, you get that bonus permanently, worth 3 or 5 points at game-end. (Board Game Arena’s implementation of the game has additional news tokens that give bonuses for transferring cards of specific colors all in the same turn, such as two oranges and a blue.)

The game ends once the last set bonus token is taken, which scales to the number of players, at which point you add up the points you earned during the game from card powers, the points from set tokens you obtained (2 points for 2 cards in a set, 3 if you got all 3), and points from your news tokens. This variable end condition means the game can drag on a bit if all players try to load up on points by not transferring cards to collections against the modest incentive to do so first for those news tokens.

Anyway, I never loved Elysium because it seemed like the game ended too quickly; you’d plan something, get it started, and then boom, the game was over. First Giants doesn’t have that problem at all; you can keep your cards active for long enough to get some benefit from them, and then shuffle them over to collections while replacing them with new cards that give you further benefits. It feels like you’ve always got something cooking. My issue with First Giants is that there’s nothing novel here: it is a workmanlike game, breaking no new ground, perfectly playable but not one I’m yearning to play again. I also still prefer the Elysium theme, as fossils/dinosaurs are kind of overdone. But I’m still going against the consensus here and saying First Giants is a slight improvement on the original, and definitely a more accessible game than Elysium is.

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→ June 18, 2026
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Flashlight.

A ten-year-old girl, Louisa, is walking on some rocks on a beach with her father at night, using a flashlight to light their way. The next thing she knows, she wakes up feeling half-drowned on the beach, and her father has vanished. It will be decades before she and her mother Anne get the whole truth.

Susan Choi, who won the National Book Award for her 2019 novel Trust Exercise, once again plays with narrative structure and unreliable narration in Flashlight*, a longer and more ambitious novel that leans heavily on a stranger-than-fiction slice of history to illuminate (pun intended) the four very eccentric characters within the story. It’s unfortunate, however, that they are all so unlikeable, making so much of this 500-page book a chore to read despite the smart prose and sensible pacing.

* Da da da dee, da da da, da da da da.

Saying too much about the plot risks spoiling the big twist, although I have to say I saw it coming almost from the start. (I’ve said before that I am not a reader who typically sees twists coming or successfully figures out the culprits in books; in this case, I was helped by a couple of clues and the fact that I know the real-world story that Choi used as her basis.) What I can say is that the story then moves back to how Anne and Louisa’s father, variously known as Serk or Seok, each grew up, including Anne giving birth to a son, Tobias, who goes to live with his father. The plot passes quickly to Louisa’s birth, her early years, and then to life after Serk’s presumed death by drowning, which happens as Anne is experiencing neurological symptoms that I think any reader will recognize as early signs of multiple sclerosis. Louisa becomes a very difficult and cruel teenager who can’t wait to escape to college and shuts her mother out for most of her life, while Anne’s life is largely filled with tragedy and disappointment. Tobias, meanwhile, pops back up a few times, eventually settling in as an itinerant samaritan who takes a particular interest in being a kind big brother to Louisa, when he’s not wandering the world or hanging out in Buddhist temples.

The plot twist is really secondary to the four character studies that constitute Flashlight, so if you do figure it out, it likely won’t materially alter your experience reading it. I did find some of the resolution to be exhausting to read, not because of the details, which are true to life, but because it was such a tonal departure from everything that came before – well, except that there’s more suffering, there is a lot of suffering in this book – at a point where a reader might expect the plot’s movement to accelerate towards the ending. Choi does craft indelible characters, even if at least two of them in this book kind of suck, and none of the four generated the empathy I’d expect to feel for at least one protagonist in any serious novel. Tobias is a wisp of a person, but the other three are well-rounded and hard to forget – and, even when they didn’t deserve it, I was still rooting for any of them to get something like a satisfying ending.

I couldn’t get there with Flashlight, even though it is well-written and well-crafted. I couldn’t avoid comparing it to one of the books she cites in her acknowledgements as an inspiration, Adam Johnson’s The Orphan Master’s Son, which is a better plotted work, one that mixes its suffering with dark humor, and takes the reader to more interesting places. It may be an unfair comparison – there are only so many American novels that touch on North Korea, and only so many ways to get into the topic – but ultimately Flashlight came out on the losing end.

Next up: C. Thi Nguyen’s The Score: How to Stop Playing Somebody Else’s Game.

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→ June 13, 2026
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Stick to baseball, 6/13/26.

My second mock draft of 2026 went up this week, with a new name at #1. I also held a Q&A on Wednesday to discuss it. Last Sunday, I posted a scouting notebook on Theo Gillen, Miguel Sime Jr., and other Rays & Nationals prospects.

I sent out a new epistle of my free email newsletter this week. You can find me on Bluesky for text-based commentary and links, and TikTok and Instagram for short videos, mostly on baseball.

I appeared on The Fan LA on Wednesday to talk about the Dodgers’ farm system.

And now, the links…

  • WIRED (reprinted on KFF Health News) explored the devastation caused by vaccine denialism in Utah, where a measles epidemic has sickened many infants too young to be vaccinated and strained hospitals unprepared for a highly contagious disease that had been eradicated from the Western hemisphere. We all pay the cost for these grifters and the idiots who follow them.
  • San Carlos Lake in Arizona is now closed to visitors after drought and a water release from a dam upriver killed all of its fish.
  • A 21-year-old Seattle man who was recently playing basketball for his junior college team was arrested for running an abusive pornography content mill, kidnapping, threatening, and beating girls to get them to produce pornography for OnlyFans and similar sites.

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→ June 6, 2026
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Stick to baseball, 6/6/26.

Quirky timing this week led to just one post for subscribers to the Athletic, a scouting notebook on Gage Wood, Gavin Fien, Eli Willits, and some other Nats/Orioles prospects. I’ve got at least two already on the docket for this upcoming week.

I appeared on the Rates & Barrels podcast to talk about my top 50 prospects, which you can get on Apple, Youtube, or directly on our site.

My free email newsletter is still free and still infrequent. I also posted a new video about hitting 20 years as a full-time baseball writer to Instagram and TikTok.

  • A devastating flesh-eating parasite called a screwworm that regularly devastated U.S. cattle farms until the 1960s has reappeared in Texas, just in time for an Administration that has slashed budgets for food safety and epidemic prevention.

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→ June 5, 2026
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Waddle.

I did not know that a group of penguins is called a waddle until I encountered the small-box board game Waddle, published by Allplay, last year at Gen Con. It’s one of the best games Allplay has produced, playing 2 to 5 but best with at least 3, and is great value at $19. (It’s $24 on amazon for some reason, but $19 direct from Allplay, or $26 for the base game and the three-in-one expansions.)

In Waddle, you’ll place your penguins on the white ice hexes on the modular board adjacent to the blue water hexes, which form fishing ponds of varying sizes. You only score points in two ways in Waddle, which is something of a relief: you score for every waddle of penguins you create, and you score for having the most or sometimes second- or third-most penguins around a pond with at least one fish (scoring icon) on it. So there’s some pattern-building and some classic area control, with very quick turns.

On your turn you either can place one of your penguin tokens, most of which show one penguin but two of which show a pair of penguins, or ‘scout ahead,’ passing your turn to move up in the turn order for the next pond. Once you’ve build the modular board, you find the pond with the white number 1 on it, and players begin placing penguins on open white hexes around it, going in turn order. Play moves to the pond with next number once all hexes around the current one are filled with penguins.

If you would rather jump ahead in turn order for the next pond, you can scout ahead, taking your marble off the current turn order track and moving it to the next track, either at the bottom or behind any players who’ve already scouted ahead. If you are the last player with a marble on the current track, however, you must place penguins on all open white hexes around the current pond before play can continue. (Single penguin tokens are considered unlimited, so you can’t run out.)

There are twenty pond tiles with numbers on them, and play progresses through them in ascending order, although you may skip some because there are no open hexes adjacent to them by the time you get there. Once you’ve finished pond 20, all white spaces should have penguins on them, and you begin the scoring. Your waddle is worth anywhere from 1 point for a single penguin all by its lonesome to 36 points for a waddle of 8 or more penguins; there’s a table on each player aid card, but for the math-inclined among you, the number of points for a waddle of size N is the sum of all integers from 1 through N. Double penguin tokens count as 2 penguins for both scoring methods.

Then you check each pond with yellow points icons and look at all white hexes surrounding the entire pond. The player with the most penguins around it gets the number of points shown on the highest icon in the pond. If there are multiple fish/scoring icons, then the player with the second-most penguins gets the second-highest points total, and so on, until you’ve either scored all of the fish or each player has scored once. All ties are ‘friendly,’ so ties players get the full amount shown.

There are a couple of rules tweaks for playing with two players, but that player count kind of obviates the scout-ahead mechanic, and I don’t think Waddle is nearly as good without at least three. It sings at four or five, though, as there’s a ton of competition and you can often find a move that helps you and blocks someone else, and with turns this quick you can play with five and never get bored. Allplay promises a one-minute teach and that’s about right – I think I described every single rule in this review, and you don’t need all of those details to get started.

I’ve played nine of the games in Allplay’s Small Box Big Game series, with one more on my Shelf of Shame (9 Lives), and I’d put this near the top. It might be second, behind Sail; I think Sequoia is a real sleeper, but I’m one of its bigger fans, I think. I would even put Waddle over Mountain Goats, which is good but I think has a limited ceiling. It’s a keeper for me, and the best game Allplay put out in 2025.

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