→ June 17, 2024
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Stick to baseball, 6/17/24.

For subscribers to the Athletic, I posted my annual ten-year redraft, looking back at the 2014 draft class, plus the annual column on first-rounders from that class who didn’t pan out.

Over at Paste, I reviewed the new deduction game Archeologic, which I thought was too easy to solve and didn’t offer any new mechanics to make me want to play it more.

I sent out another edition of my free email newsletter last week, detailing my misadventures with travel and phone alarms.

And now, the links…

  • The four members of R.E.M. were inducted into the Songwriters Hall of Fame and sat down with CBS’s Anthony Mason to discuss the honor, their careers, their opposition to a reunion, and more.
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→ June 12, 2024
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Big Top & Couture.

Big Top and Couture are both light auction games that have been rethemed from their Japanese originals by the publisher Allplay, which specializes in small-box games and has imported a number of great titles from Japan in this way (including last year’s two-player game Sail). Both Big Top and Couture offer something clever in the way they approach the auction, with Big Top the better gaming experience while Couture might be easier for less experienced players to grasp.

Big Top pits 3 or 4 players against each other in a fight to build the best circus by hiring performers from the deck. Each player starts the game with one hand card, $22, and a Ringmaster card on the table in front of them. On your turn, you become the auctioneer, drawing a card and then choosing to put that or your hand card down for auction, making the first bid yourself. Players bid until everyone but one has passed, at which point the winning player pays either the auctioneer or the bank (if they were the auctioneer).

When you win a card, you then have to ‘complete’ it to be able to score it at the end of the game and activate any powers. Cards have anywhere from two to nine circles on them showing numerical values from 1 through 12. When you place a bid on a card on the table, if you bid any number shown in an uncovered space on one of your cards, you take a coin from your supply and cover up that space. Thus bidding is nearly always valuable, even if you don’t win the card or even want the card on the table. If anyone’s bid matches an open circle on the card up for auction, you take a coin from the bank (if available) and cover that circle as well. Once you’ve covered all of the circles on a card in front of you, you move it to your completed attractions pile, regain all of the coins that were on it, and activate any powers on it, which can include placing one or two coins on any uncovered circles on your cards, taking the top card from the deck and completing it for free, and more.

The game continues until you reach the end-of-game card, which you shuffle into the bottom four cards of the deck. Any player who did not complete a Star attraction, of which there are about eight in the deck, is eliminated immediately. You then add up all victory points shown on attraction cards, plus all variable bonuses on clown cards, and then award points for stars (10 to the player with the most, 7 to second place, 3 to third, with tied players sharing the lower number). The game takes about 45 minutes because of the size of the deck and the fact that auctions can go around a few times, but downtime between turns is limited.

I love the bidding system here, which, to be fair, is the only unique thing about Big Top. You’re almost always working on something, and it rewards you for always having a couple of cards in play – there is no benefit to underbidding just to hoard cash. (You get one point for $5 left at game end, which is a pittance in a game where scores run 60-75 points.) And the three main ways to score seem pretty balanced – high-point attractions, stars, and clown cards. If you get a clown card early in the game, you can tweak your strategy a little to try to maximize its value, but it won’t fundamentally change how you play. I played this with my stepdaughters, aged 7 and 11, and they both got the concept and scored well, with the 11-year-old winning.

—

Couture, which plays from 3 to 6 people, is set in the world of high fashion and also involves bidding on a deck of cards, but here the bids come from your bid cards rather than money, and you’re bidding on slates of cards, nine in each round, three per column, representing New York, Paris, and Tokyo. Players start the game with the same four bidding cards each, valued at 1, 1, 2, and 3. They divide those cards across the three sites, hiding their bids in their hands, and all players reveal their bids at the same time. You may choose not to bid on any one site, but in that case you won’t get any cards from there at all.

Once the bids are out, you resolve the three sites left to right, starting with New York. The highest bidder gets to take one card of their choice, followed by the second-highest, and then the third-highest takes the last card. If only two players bid, the first player takes the last card; if only one player bid, they take all three. You must take a card – you can’t pass, even if the card is a Flop, which can hurt you at game end.

The deck includes two main types of cards, bidding cards and outfits. The bidding cards you can gain can have higher bid values, up to 4 points, but may be worth negative victory points at game end. Some bidding cards are worth 2 points unless there’s a matching symbol in the column you’re bidding on, in which case they’re worth 4. Some bidding cards have values of 0 or even -1, which lets you sneak in as the low bidder, and they are the only way to expand your hand limit of four bidding cards, even if you later replace them with higher-valued ones.

The outfit cards offer a variety of ways to score, mostly around set collection. You can get points for finishing pairs of matching streetwear cards, worth more points if you’re the first to finish. You gain points for getting cards of five different ready-to-wear brands, up to 8 if you get the whole set. Editorial cards are worth a straight two points each, but beware of Flops, as there’s a penalty for whoever has the most at the end of the game.

Couture’s bidding system is a little easier to play than Big Top’s because it’s simultaneous and you bid just once per round, with seven rounds in the whole game, but my youngest didn’t entirely get the concept of splitting her bids across the three sites along with the need to use all her bid cards every turn. We all loved the theme and the art, though, and they both said they’d play this again. I think Big Top executes the auction mechanic in a cleverer way, but it takes twice as long to complete, and Couture is certainly better to look at. Both come in small boxes and retail for under $20 on Allplay’s site (Couture, Big Top).

The kids were both asking for more auction games; I just got a copy of QE, and I’ve played some of Knizia’s auction games (Ra, Medici) but don’t own them any more. Let me know your favorite auction games in the comments.

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→ June 11, 2024
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Spellbook.

Phil Walker-Harding has designed some of my all-time favorite games, including Cacao, Silver & Gold, Super Mega Lucky Box, Imhotep: The Duel, Sushi Go!, Gizmos, and more. He’s been on something of a cold streak lately, unfortunately, with a number of games that felt unfinished or insufficiently tested, and it continues with his most recent big release, Spellbook, a game with a decent concept that ends way too quickly.

Players in Spellbook get a set of seven cards, each of which shows three ‘spells’ on it (with rare exceptions) that players can cast to gain additional powers throughout the game. On your turn, you may collect spell tokens in the seven colors, and if you collect at least three of a color, you can cast the associated spell, gaining either an immediate bonus or a new action for the rest of the game, plus victory points, but losing the ability to cast the other spells on that card. You may also store a token on your player board on every turn, with spells that allow you to store two or more if you cast them, which awards you the most points and also triggers the end of the game when someone fills all 14 spaces on their board.

In each turn, you get up to three actions, tied to morning, midday, and evening, with all spells fitting into one of those three times of day. In the morning, the base action is to take one visible token from the market or two random ones from the bag. In midday, the base action is to store one token on your board. In the evening, the base action is to cast one spell. As the game progresses, you’ll have better actions available from spells you’ve cast, such as allowing you to swap some of your tokens with those in the market, or allowing you to discard one token with a specific symbol to draw 4 from the bag, so the game speeds up. And that’s the problem: Spellbook ends before you can get anything interesting going at all.

If a player just muddled along and stored a token on every turn, they wouldn’t win, but the game would end after 14 turns, which might be a reasonable number – but the game should never last that long because of the actions available that let you store multiple tokens at a time. The game ends either when someone fills their board, which is the only way we’ve ever had this game end, or when someone casts a spell of all seven colors. I’m pretty confident that the cast-and-store strategy is the dominant one, both because it offers more points and because it ends the game more quickly, but that consistently left us with the sense that we’d barely played the game. Some spells aren’t that useful anyway, but you might cast only three of them before the game ends, and that just isn’t very fun to play. It wants to be an engine-builder, but that would require more turns, and there’s too much randomness involved in getting the tokens you need for spells (with one way to create a ‘wild’ token that’s too difficult to change the calculus). I have a hypothesis that larger publishers in board gaming are pushing to get more titles out rather than fewer, better-quality ones, and this feels like it supports my belief – at best, it just wasn’t tested enough, because there is no way people played this a bunch without saying the game ended too soon.

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→ June 8, 2024
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Stick to baseball, 6/8/24.

For subscribers to the Athletic, I updated my ranking of the top 50 prospects currently in the minor leagues and then wrote about five prospects who’ve fallen off so far this year. One of them, Adael Amador, is actually in the midst of a hilarious run where he’s hit 6 homers in his last 9 games after hitting just one in his first 37 games … and he’s still only hitting .194/.337/.329!

I’ll be back on Stadium on Monday for Diamond Dreams at 2 pm ET, one segment on Unpacked at around 2:40 pm ET, and possibly a segment on The Rally in the 5 o’clock hour.

I’m at Disharoon Park again today for game 2 of Kansas State vs. Virginia, so I’m rushing to get this posted. So now, the links…

  • You may have seen the piece in the New York Times op-ed section claiming evidence for the lab-leak hypothesis, written by an author who is not a virologist or epidemiologist and who has been flogging a book (co-authored with a climate-change denier) pushing the lab-leak deal for several years. Scientists have been picking it apart all week: Evolutionary biologist Kristian Andersen posted this thread on BlueSky debunking Alina Chan’s terrible editorial, virologist Dr. Angela Rasmussen did the same on Twitter, and biochemistry professor emeritus Larry Moran also debunked her points in a concise blog post. Chan is wrong, and we have copious evidence showing she’s wrong, but she persists – and she got a giant platform to sell her view.
  • House Republicans moved on from attacking Anthony Fauci to smearing Dr. Peter Hotez, a prominent voice in the pro-vaccine and pro-science movements who co-developed a low-cost vaccine against COVID-19.
  • The Columbia Law Review published a massive story from a Palestinian researcher on the Nakba that had been killed by the Harvard Law Review, but the CLR’s board of directors didn’t like it so they took down the journal’s entire website.
  • Hamilton Nolan explains that allowing the rich and powerful to opt out of public systems, like mass transit and public education, allows those systems to atrophy and discourages government from repairing them. I think it’s more complicated than that – if you have the money to afford life-saving medical care, should the government prevent you from receiving it? – but his point about mass transit seemed quite relevant given our country’s dismal record on that front.
  • Jared Kushner’s investment fund is in bed with the Serbian government – which is aligned with Russia and denies its role in the Bosnian genocide – in a construction project that will include a memorial to “victims of NATO aggression.”
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→ June 4, 2024
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Music update, May 2024.

This list was pretty thin until the last eight days of May, when I think it doubled in length, with a bunch of new/surprise releases, including a couple of tracks from bands that were popular when I was still in grade school. May also included what is probably my #1 album of 2024 so far, two tracks from a band whose next album might be their big breakthrough, a posthumous release from Steve Albini, a fantastic cover I didn’t expect, some great new metal tracks, and more. You can access the playlist here if you can’t see the widget below.

Mdou Moctar – Oh France. Moctar’s latest album, Funeral for Justice, is one of the best albums of the year, fighting for my top spot so far with the Libertines’ latest. His guitar work is so strong that even without the typical aural anchor of the lyrics I still find his tracks running through my head, including this one, the title track, and “Imouhar.”

milk. – Don’t Miss It. I’m probably better at predicting success (or failure) for baseball prospects than I am for bands, but this Irish quartet with the SEO-unfriendly name would be a top ten prospect for me right now. Maybe I should do some sort of rankings like that for fun. Anyway, they’ve got a great knack for indie-pop melodies, and this is their best single yet.

Charly Bliss – Nineteen. One of two great singles from Charly Bliss to come out in May in advance of their new album Forever, due out on August 16th. This is a powerhouse ballad with clever lyrics and a great vocal turn by Eva Hendricks, while the second single, “Calling You Out,” is more in their typical indie-pop vein. I’ve loved all three tracks from the record so far although I was disappointed to hear their single from last year, “You Don’t Even Know Me Anymore,” isn’t on it.r

Blushing – Silver Teeth. Straight-up American shoegaze, from Texas but descended directly from the original shoegaze sound – you could definitely drop this on a mix from 1992 and no one would blink.

Nice Biscuit – Rain. Psychedelic rock from Brisbane, here with a big crunchy guitar riff right from the outset before the dreamy vocals come in.

Miles Kane – Fingerless Gloves. The other half of the Last Shadow Puppets and the lead singer/guitarist of the so-called “landfill indie” band the Rascals (who put out one album in 2008 and disbanded when Kane left) has just dropped a new instrumental five-song EP, featuring this banger that doesn’t need any vocals at all.

Color Green – Four Leaf Clover. Spacey, psychedelic guitar rock that 100% could be the opening band at a Phish show, if Phish weren’t also their own opening act. Color Green put out a full-length album in 2022, but this was the first track I’d heard by them.

DEADLETTER – Mere Mortal. Post-punk with horns, like Madness but definitely edgier and angrier. I’m not surprised to read they’re fans of Yard Act – you can hear some shared DNA between the two.

Bad Omens feat. Bob Vylan – Terms and Conditions. I sent this to a friend who shares my fandom of old-school hip hop, and not only did he love it, he said it’d be a great walkup song because it’s fast and loud and no one else would have it. Also, how many rappers can drop a coltan reference in their rhymes?

GIFT – Going in Circles. More psychedelia, from the band whose 2022 track “Gumball Garden” made my top 100 from that year, with their second album Illuminator due out on August 23rd.

Marble feat. Foxing – the monster. Marble is a six-piece band from the Pacific Northwest, calling their music “shoegaze/dreamo,” although this track, with Conor Murphy of Foxing taking the second verse, is neither – it’s bigger, clearer, more majestic, growing to a huge crescendo before a downshift in tempo at the finish.

STONE – Save Me. This hard rock/punk quartet from Liverpool announced their first full-length LP, Fear Life for a Lifetime, will be out on July 12th.

The Lemon Twigs – Rock On (Over and Over). The Lemon Twigs can get overly twee and their whole affect seems … well, affected, but when they lean hard into that 1960s pop sound, they produce Barrels. This seems like the kind of song Susanna Hoffs would cover.

The The – Cognitive Dissident. Yep, that’s the great 1980s alternative band, whose original lineup included Keith Laws, now a neuropsych professor University of Hertfordshire. Matt Johnson is the only original member left, but it’s his voice that defines so much of their sound – and he sounds great.

The Chameleons – Where Are You? The Chameleons were also part of the original post-punk movement but had very little success in the U.S., breaking up in the late 1980s after three albums, reuniting for one LP in 2001, and then breaking up again. Their first album since then, Arctic Moon, will be out later this year, with two of the four original members on board, including vocalist/bassist Mark Burgess. I didn’t end up including it on the list, but another band who were big in the 1980s, Redd Kross, put out a new track, “Born Innocent,” which was the name of their debut LP from 1982.

Ducks Ltd. – When You’re Outside. This is a bonus track from the Harm’s Way sessions that didn’t make the cut, but I might like it more than anything on the record. Their jangle-pop sound is pretty much in my wheelhouse.

Hinds feat. Beck – Boom Boom Back. I thought Hinds were done, with nothing since their 2020 album The Prettiest Curse, but they’re back, back down to their original two members, with a new LP coming in September. This track has the same sort of chaotic feel as just about all of their previous work, but the production level is higher, and the music is tighter, without that sense that the members are all playing to slightly different times.

Idaho – On Fire. I know Idaho’s stuff from their 1990s heyday as leaders of the ‘slowcore’ movement, but totally lost track of them after either Three Sheets to the Wind or Alas, and had no idea they’d 1) kept going until 2013 or 2) reunited this year for their first new album, Lapse, in eleven years. I don’t know if I could sit through a whole album of this lugubrious sound, but the main guitar riff here is hypnotic.

Strand of Oaks – Future Temple. A spacier, synth-laden single from Timothy Showalter, his first new music since 2021’s In Heaven.

RM feat. Little Simz – Domodachi. RM’s second solo album, Right Place, Wrong Person, came out to rave reviews on May 24th, and since I’m not exactly a BTS stan, you can imagine I found this track because the great Little Simz is on it.

Mach-Hommy feat. Black Thought – COPY COLD. Mach-Hommy is a Haitian-American rapper who hides his real identity and has been absurdly prolific, with Wikipedia listing 27 albums, all but two in the last ten years. I’m here for Black Thought’s verse, of course.

Slash feat. Chris Stapleton – Oh Well. A faithful, rollicking cover of one of the earliest Fleetwood Mac hits, written and sung by Peter Green. Stapleton’s vocals are desultory but I’m here for Slash’s soloing anyway.

Head Automatica – Bear the Cross. Head Automatica is a side project for Glassjaw lead singer Daryl Palumbo, but they’d been idle since 2012 and hadn’t released any new music since 2006 before this new single. There’s a mid-period Depeche Mode vibe to it, with that vaguely industrial sound from the Some Great Reward era.

Shellac – WSOD. Shellac’s final album came out just ten days after the death of guitarist/vocalist Steve Albini, which, from the reviews I’ve seen, has meant some less-than-objective commentary on the music itself, but I think this track is pretty great from the opening riff to Albini’s Mike Doughty-esque lyrics.

Cemetery Skyline – In Darkness. Cemetery Skyline is a supergroup of musicians from Nordic metal, including members from two major melodic death metal bands in Dark Tranquility and Omnium Gatherum, but this track is almost an anachronism – the vocals are clean, the tempo is moderate, and the whole thing has a NWOBHM/Sabbath-y vibe. It’s interesting to me to hear guys who lean too heavily on gimmicks like death growls and blast beats show they like and can play more accessible stuff.

Wheel – Submission. A sprawling ten-minute progfest from one of the best prog-metal bands on the planet right now, from their latest album Charismatic Leaders.

Pallbearer – Mind Burns Alive. The title track from the American doom masters’ latest album, which dropped on May 17th and features six tracks, none shorter than six and a half minutes.

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→ June 1, 2024
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Stick to baseball, 6/1/24.

Nothing new this week at the Athletic, but I have a top 50 pro prospect rankings update slated for Monday the 3rd.

Over at Paste, I reviewed the roll-and-write game French Quarter, from the designers of Three Sisters and Fleet: the Dice Game. I think it’s fantastic, although it’s harder than any of their previous games to play well.

I’ll be back on Stadium on Monday at 2 pm ET for Diamond Dreams and somewhere in the 2:30 pm show Unpacked for one more segment. We’ll discuss some of my new rankings on the first show and have an interview with Colt Emerson lined up.

A million bonus points if you know what today is, by the way. I’ll accept two answers, although one is more obvious than the other.

And now, the links…

  • Longreads first: You’ve probably seen this Guardian longread on the so-called “pro-natalist” family who, among other things, think nothing of physically abusing their children in the name of “discipline.” My issue with the piece is this: The parents claim that their parenting is “evidence-based,” yet they then do many things, including smacking their children, that are unequivocally contrary to all available evidence – and the piece’s author does not push back in any way. That is your job as a journalist.
  • WIRED has the story of Jane Willenbring, the victim of sexual harassment by disgraced Professor David Marchant while they worked in Antarctica, whose willingness to come forward led to Marchant’s firing and the renaming of the glacier that once bore his name.
  • A nurse at NYU’s Langone Health hospital mentioned the genocide in Gaza during her speech accepting an award for her compassion in caring for mothers who’d lost their babies. The hospital fired her. They’ve said she was warned before “not to bring her views on this divisive and charged issue into the workplace.” The hospital took its name from Republican billionaire donor Kenneth Langone, who has previously compared critics of rising income inequality to Nazis.
  • UC-Irvine law professor David Kaye writes in the New York Times that we should allow the International Criminal Court to do its job after the Court announced charges against the leaders of Hamas and Israeli Prime Minister Netanyahu. The U.S. has remained outside of the ICC for twenty years, even though we could do the most good by accepting its tenets and supporting its efforts to pursue war-crimes charges – as we have asked the ICC to do against Vladimir Putin.
  • Even before Friday’s verdict, Greg Sargent noted that Trump’s anti-media rhetoric had turned more dangerous with the convicted felon’s apparent endorsement of a rant about how he’ll “get rid of all you fucking liberals.”
  • The Washington Post sat on the story of Samuel Alito hanging pro-insurrection and pro-nationalist flags at his house for several years. The New York Times has been reporting on the story now, including this very measured piece on what seems to have happened, including disputes over the order of some of the events in the neighborhood dispute.
  • A passenger on a United flight into Fresno this week has tested positive for measles. This should be a criminal offense – they put many, many other people at risk through their actions, like driving drunk.
  • Michael Hiltzik writes in the LA Times that now Democrats are just as bad at Republicans in putting political concerns over science, as Rep. Raul Ruiz (D-CA) continues his sham hearings promoting the debunked lab-leak hypothesis.
  • Pope Francis apologized for using the Italian equivalent of the f-slur and saying there was too much of that in the priesthood when arguing against allowing celibate gay men to take orders. I think there’s too much emphasis here on the word choice and nowhere near enough on pretty much everything that lies behind it.
  • Luthier is the latest complex game from Paverson Games, publisher of last year’s excellent heavy game Distilled. There’s a full site up for the game but the crowdfunding link isn’t open yet. I saw Luthier at PAX Unplugged; it’s gorgeous and huge, but my guess is it’s too long a game for my personal tastes and attention span.
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→ May 31, 2024
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Donut Shop.

Donut Shop is a light-ish new game from 25th Century Games and Jeffrey D. Allers, designer of New York Slice and Heartland/Gunkimono, blending some set collection and tile-laying mechanics into a game with a short rule set but too long and amorphous a playing experience. It definitely looked more promising before it came out of the box.

In Donut Shop, players add 2×2 tiles to a common tableau to try to create patterns they can score by covering them with donut boxes that range in size from 4 to 12 donuts. There are five flavors, each of which can have sprinkles or some other decoration on them, as well as ‘wild’ spaces that show a little pile of five donut holes. On your turn, you must place the one tile in your hand fully adjacent to another tile on the tableau – at least one edge must fully line up with the edge of a single tile already on the table – and then choose one donut flavor to score. You get 10 cents for each donut of that flavor on your tile, plus 10 more cents for each matching donut orthogonally adjacent to the tile AND each matching donut adjacent to those.

At this point, you can end your turn, or you can take a donut box from the supply to cover part of the tableau as long as you have the correct cards to do so. The cards represent customer orders, and you must have one card for every flavor of donut you’re covering with the box – one card can cover as many donuts of one flavor as you need, although you may choose to play additional cards for more rewards. You get a fixed value for the box, plus an additional 10 cents if any of your cards show a sprinkles bonus on the bottom and you covered a donut matching that flavor that also has sprinkles. There are also coffee bonuses independent of donut flavors; if you trade in two coffee cards with one box, you get 15 cents, and if you trade in three you get 25 cents.

At the end of your turn, you must take a new donut tile and a new order card. You can do this in any order, as long as the first item you take is face-up, so the second is face-down. You may only have one tile at a time, but there is no limit on order cards. The game continues until the players either exhaust the donut tile supply or the order card supply.

There are two major issues with Donut Shop that ended up souring me on the game. The bigger one is its length: It takes way too long to get to the end of the game, by which point the very simple mechanics become rote and uninteresting. This game needs to be about half as long as it is, given the short rules and the overall theme, and when I played it with my seven-year-old and when my 11-year-old played with two friends, we all agreed it needed to end sooner – the second group didn’t even play till the conclusion.

I also don’t like how hard it is to set up any moves even a turn in advance. If you try to build towards a larger box, nothing can stop your opponent from just grabbing the space once they have the cards, and that’s really easy to do later in the game when both players will likely have a decent supply of order cards on hand at all times. In addition, while the supply of donut boxes is limited, but in a two-player game there are too many smaller boxes, so you have a very strong incentive to fill small orders early until those boxes start to run short, which feels very paint-by-numbers rather than strategic. It doesn’t penalize long-term planning, but it fails to reward it.

There might be a better game in here somewhere, even a smaller-box game, maybe if you weren’t all building the same tableau or were competing more directly for tiles and cards – if I could see you needed a tile and might take that first, that would be a different game but increase the interaction without it being as simple as “I’m covering the donuts you were going to cover next turn.” I also don’t think the 20-40 minute listed playing time is accurate – we had a two-player game run at least 45 minutes because it just takes too long to get through the supply, so perhaps an earlier end condition would help. I love tile-laying games but this one doesn’t hit any of the reasons I enjoy them.

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→ May 29, 2024
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Seven Games.

The title of Oliver Roeder’s book Seven Games: A Human History is a misnomer in two ways: It’s not really a book about games, and it’s far more a history of computers than of humans. It is, instead, a history of attempts to use what is now unfortunately referred to as “AI” to tackle the myriad problems posed by seven popular board and card games from human history, from chess to bridge. Each of these games presents the programmers with specific, novel issues, and while machine-learning techniques have succeeded in solving some games (like checkers), others have and may forever prove inscrutable (like bridge).

Roeder is a journalist for the Financial Times and clearly a gamer, and someone who loves the games for what they are beyond their competitive aspect (although it becomes clear he is a fierce competitor as well). He writes as an experienced player of all seven games in the book, even though he must have varying skill levels in each – I’d be shocked if he were much of a checkers player, because who on earth in the year of our lord 2024 is a great checkers player? His experience with the games helps infuse a book that could be a rather dry and grim affair with more than a touch of life, especially as he enters tournaments or otherwise competes against experts in games like poker, Scrabble, and backgammon.

What Roeder is really getting at here, however, is the symbiotic relationship between games and machine learning, which is what everyone now calls AI. (AI is itself a misnomer, and there are many philosophers who argue that there can be no intelligence, artificial or otherwise, without culture.) Games are perfect fodder for training AI modules because they tend to present short sets of rules and clear goals, thus giving the code and its coder targets for whatever optimization algorithm(s) they choose. In the case of checkers, this proved simple once the computing power was available; checkers is considered “weakly solved,” with a draw inevitable if both players play perfectly. (Connect 4 is strongly solved; the first player can always win with perfect play.) In the case of bridge, on the other hand, the game may never be solved, both because of its computational complexity and because of the substantial human element involved in its play.

In one of those later chapters, Roeder mentions P=NP in a footnote, which put an entirely different spin on the book for me. P=NP is one of the six unsolved Millennium Prize Problems* in mathematics, also called the P versus NP problem, which asks if a problem’s correct solution can be verified in polynomial time, does that also mean that the problem can be solved in polynomial time? The answer would have enormous ramifications for computational theory, and could indeed impact human life in substantial ways, but the odds seem to be that P does not equal NP – that the time required to solve these problems is orders of magnitude higher than the time required to verify their solutions. (For more on this subject, I recommend Lance Fortnow’s book The Golden Ticket, which I reviewed here in 2015.)

*A seventh, the Poincaré Conjecture, is the only one that has been solved to date.

You can see a thread through the seven chapters where the machine-learning techniques adjust and improve as the games become more complex. From there, it isn’t hard to see this as a narrow retelling of the ongoing history of machine learning itself. The early efforts to solve games like checkers employed brute-force methods – examining all possible outcomes and valuing them to guide optimal choices. More complex games that present larger decision trees and more possible outcomes would require more processing power and time than we have, often more time than remains in the expected life of the universe (and certainly more than remains in the expected life of our suicidal species), and thus required new approaches. Some of the attacks on games later in the book allow the algorithm to prune the tree itself and avoid less-promising branches to reduce processing time and power, thus leading to a less complete but more efficient search method.

Roeder does acknowledge in brief that these endeavors also have a hidden cost in energy. His anecdotes include Deep Blue versus Kasparov and similar matches in poker and go, some of which gained wide press coverage for their results … but not for the energy consumed by the computers that competed in these contests. We’re overdue for a reckoning on the actual costs of ChatGPT and OpenAI and their myriad brethren in silicon, because as far as I can tell, they’re just the new crypto when it comes to accelerating climate change. That’s nice that you can get a machine to write your English 102 final paper for you or lay off a bunch of actual humans to let AI do some things, but I’d like to see you pay the full cost of the electricity you’re using to do it.

I’ve focused primarily on one aspect of Seven Games because that’s what resonated with me, but I may have undersold the book a little in the process. It’s a fun read in many ways because Roeder tells good stories for just about all seven of the games in the book – I might have done without the checkers chapter, because that’s just a terrible game, but it is an important rung in the ladder he’s constructing – and puts himself in the action in several of them, notably in poker tournaments in Vegas. There’s also a warning within the book about the power of so-called AI, and I think inherent in that is a call for caution, although Roeder doesn’t make this explicit. It seemed a very timely read even though I picked it up on a friend’s recommendation because it’s about games. Games, as it turns out, explain quite a bit of life. We wouldn’t be human without them.

Next up: Dark Matter of the Mind: The Culturally Articulated Unconscious, a book by Daniel Everett, a former evangelical Christian missionary who became an atheist and turned to linguistics after his time trying to convert the Amazonian Pirahã tribe. He appeared at length in last year’s outstanding documentary The Mission.

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→ May 25, 2024
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Stick to baseball, 5/25/24.

One new post this week for subscribers to The Athletic, my ranking of the top 100 prospects in this year’s MLB Draft class. The Vance Honeycutt defenders have logged on, but they always seem to log back off when I explain why they’re too high on their guy.

I’ll be back on Stadium, in studio again, but on Tuesday this week due to the holiday and some travel on my end. Diamond Dreams airs at 2 pm ET, and I’ll likely do one segment as usual on Unpacked around 2:40. Both shows re-air often during the week, usually twice a day as far as I’ve been able to tell. You can watch via the app or with certain subscriptions to Youtube, Fubo, Roku, etc.

I sent out a new edition of my free email newsletter this week, talking about my longtime hobby of playing the guitar and how beneficial I find it even though I’m usually playing for nobody but myself, as well as a little note on the adult I have successfully created after 18 years of hard work.

And now, the links…

  • From March, this video from Rabbi Daniel Bogard looks at why American Jews feel connected to Israel; it’s part one of a very informative series on American Jewish culture and identity at a time when that has become incorrectly equated with Zionism.
  • International negotiations on a treaty to try to prevent the next pandemic broke down due to nationalist and anti-science sentiments. The World Health Organization’s Global Health Law director argued that “Donald Trump is in the room” and if Trump wins he’d likely “torpedo” any future negotiations.
  • Police in Fontana, California, used “psychological torture” to get a man who reported his father missing to confess to stabbing and killing him … except his father was still alive and unharmed. The city will now direct nearly $900,000 of taxpayer money to Thomas Perez, Jr., for the pain and distress inflicted on him, during which police also told him they were killing his dog and led him to try to hang himself in custody. What I don’t see is whether any of these officers were fired or even disciplined.
  • Two board game crowdfunding efforts of note: Stupor Mundi, the newest title from the designer of Darwin’s Journey and Newton, funded in about four hours; it looks like it might be a little lighter in weight than Nestore Mangone’s previous releases.
  • And Feudum, a 2018 game with a listed weight on Boardgamegeek of 4.58 out of 5 (!), has a crowdfunding page for a new edition that is over $300K raised. I actually hadn’t heard of this game, probably because anything of that weight and a playing time over two hours is of little to no interest to me.
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→ May 24, 2024
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Night Watch.

Jayne Anne Phillips’ newest novel Night Watch was, as far as I can tell, a surprise winner of this year’s Pulitzer Prize for Fiction in two senses: I saw nothing that anticipated its win, and I think it sucks. It is a ponderous, pretentious, pointless, predictable piece of fiction that was an absolute chore to finish and offered far too modest a payoff for the effort required to complete it.

The setup to the plot of Night Watch is far more complex than the plot itself, as if Phillips knew she had a scant concept and decided to mask it with time-shifting, insufficient use of quotation marks, and avoidance of pronouns. A man takes a woman who has stopped speaking for several years and her 12-year-old daughter to a West Virginia asylum several years after the end of the Civil War, cautioning the girl that he is not her father and telling her the story she needs to relate at the asylum to gain admittance for herself and her mother. The girl’s actual father went to fight in the War but never returned and the family received no word of his fate. From there, we jump back and forth to find out who the man was, why the woman stopped speaking, and what happened to the father, before we get to a conclusion that you can see coming from the first fifty pages, if not sooner.

This book thinks it has a lot to say, and that might be its worst attribute, even beyond the leaden, torpid prose and the meager characterization. (It also contains a long, graphic scene of sexual assault that stood out as one of the only scenes in the novel that has that level of detail about anything happening to any of the characters.) There could be a larger point here about the treatment of women during and in the aftermath of the Civil War, and how conflicts tend to save their worst impacts for the most vulnerable populations, such as women and children, which would seem to have a rather apt parallel today in Gaza. There could be something here about the poor treatment of the war wounded and the insane of that era. There could be any number of themes here if Phillips had the insight into the subject to lead the reader there, but she doesn’t. It revels in the misery of its setting like Andersonville, another Pulitzer winner about the Civil War – the judges for that award just can’t seem to resist that setting – without saying anything meaningful about any of it.

The characters are the book’s second major failing, as Phillips seems almost determined to prevent the reader from getting to know any of them. The man never gets a name beyond “Papa,” a sort of cruel joke in the circumstances. The father gets a name that isn’t his own, only after he’s wounded and loses his memory. The mother and daughter each have two names, their own and the false identities they assume when they enter the asylum. There’s also a woman and a horse who are both named Dearbhla, in case you weren’t confused already. They’re all thinly drawn enough that they exist only as one-dimensional villains (Papa) or victims (the mother and father) or sort of impossible fairies (the daughter). The daughter, named ConaLee but known at the asylum as Miss Eliza Connolly, is the closest character here to a protagonist, and is certainly its hero, yet she is a cipher inside her outlines: We only see her as her world has made her, never as who she is as a person.

The sum of these disparate parts may leave you rooting for any sort of happy ending for the central characters, and of course Phillips could not give you one – nor does this novel need one, to be clear. She simply chose the cheapest way out, rather than resolving the plot’s various threads in a way that actually says something about their lives or their time or, as is written in the guidelines for the Pulitzer committee, “dealing with American life.” That this was chosen over North Woods or Tom Lake is appalling, the second massive whiff in three years by the Pulitzer committees for the fiction award after 2021’s mind-boggling selection of The Netanyahus, which really hasn’t aged well. A great novel will justify its existence through its story, its prose, and its characters. Night Watch does none of the above.

Next up: Oliver Roeder’s Seven Games: A Human History.

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