→ October 9, 2020
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Air, Land, and Sea.

Air, Land, and Sea is a great, simple, quick-to-learn, and highly portable two-player game that manages to bring something new despite the fact that the game is really just a deck of 18 cards. It’s very clever and reveals quite a bit more strategy with increased plays, yet it’s elegant and simple enough that almost anyone could play it.

Each player in Air, Land, & Sea will get a hand of six cards to start the game, and unless they get a card that allows them to draw another, that’s all they get. The cards have the values 1 through 6, one set for the Air, one for the Land, and one for the Sea. Players play one card at a time and may play them face up, using the value and text on the card’s face, to the theater matching the color on the card; or face down, getting a flat value of 2 and no benefit from the text, to any theater. They play each card to one of the three theaters of battle, the three names in the title of the game, and the sum of the values on their cards will be compared at end-game to the cards on their opponent’s side, taking into account any adjustments from face-up cards elsewhere on the table. If you play to a theater that already has one of your cards, the new card covers most of it, which matters for certain card abilities. If one player wins two of the three theaters, they win the game; the start player wins any ties. The winning player gets some number of points, up to 6, and the players play further games until one of them has 12 points.

There are two major twists, of course. One is that the cards with values from 1 to 5 have extra abilities that can range from invalidating an opponent’s card to allowing you to flip any uncovered card on the table (face-up or face-down) to changing the values of other cards in the same or adjacent theaters. Thus, the timing of when you play your cards is a huge part of strategy in Air, Land, & Sea, both in terms of lining up your own cards so that you can maximize the benefits of those card texts, and in hoping your opponent will play cards you can counteract with cards still in your hand.

Air, Land, and Sea set up on the tabletop

The other twist is that you can concede the game before it ends and deny your opponent the full 6 points they’d get if you played until both players had exhausted their hands. The number of points you receive for winning depends on how many cards are unplayed and whether you were the first or second player (which alternates in each game). It’s often clear early on that you can’t win at least one theater, because you didn’t get the right cards in your hand or because your opponent has stronger cards, and I’ve had several games where I had two cards left in my hand and realized they weren’t enough to win two of the three theaters for me, so concession was the right strategy. It lets you stop a game early so you live to fight another day.

The game does have a few quirks that might send you back to the rulebook or just require a few plays to get accustomed to them. One is that some cards, like Maneuver, require you to take the action in the text, rather than giving you the option. Another is that cards can be moved to another theater when covered, but never flipped. And there is a distinction between playing a card, which may trigger other card abilities, and moving one, which generally does not. Once you get the hang of those, though, the game flies by – no pun intended – rather quickly, and you can easily play an entire match in 20 minutes. And despite the short ruleset and small deck, there’s a lot of replay value because of the sheer number of possible combinations (my quick calculations show over 18,000 possible sets of 12 cards from 18, without considering the two different hands of 6, but I suck at combinatorics). I missed Air, Land, and Sea when it first came out – it was self-published in 2018, then picked up by Arcane Wonders and published in early 2019 – but at $15 on amazon it’s an easy addition to my best two-player games list.

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→ October 1, 2020
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Atlantis Rising.

The second edition of the cooperative game Atlantis Rising came out last September from Elf Creek Games, bringing updated graphics and much-improved components while simplifying some of the mechanics. It’s flown a bit under the radar but is one of the better cooperative titles I’ve played, a step up in complexity from Pandemic but not as difficult to learn as Spirit Island.

In Atlantis Rising, one to seven players try to save Atlantis before the island floods by gathering resources to build eleven ‘components,’ each of which helps the players continue to advance towards the ultimate goal with one-time or ongoing benefits. Each player gets a specific role with a special ability and a set of meeples they can place around the island’s many spaces. The island board has six peninsulas on it, each containing six tiles on which players can place their meeples. Three of those allow you to gain resources – gold, crystals, and ore – by rolling a die, while the other three allow you to convert ore to steel, to pick up Library cards that give you extra benefits, or to recruit more meeples. You can also place up to two or three meeples (based on player count) on the components board to allow you to build them on that turn.

The order of operations here is a bit different than that in Pandemic and the many games that have borrowed its mechanics. In Atlantis Rising, players all place their meeples at the same time, coordinating their efforts, and then players draw one card apiece from the Misfortune Deck, which mostly comprises cards showing the name of one of the six peninsulas. When you draw one of those, you flip over the tile closest to the end of the peninsula that isn’t already on its flooded side. Those tiles furthest from the center either have the best rewards or require the lowest value on your die roll to gain a resource, so the island gets harder to use as it shrinks. If any peninsula has all six tiles flooded and you draw another card for it, you have to flip the middle tile and you lose the game. Some cards in the Misfortune deck are even worse, while others are Calm cards where nothing flips, so it’s possible your card draw won’t be entirely disastrous.

Only after you’ve drawn and resolved your Misfortune cards do you execute the actions for the meeples you’ve placed, assuming that they weren’t booted from the board when their tiles flooded. (You don’t lose the meeples forever, just for the round.) You roll dice to see if you get any of the three resources, convert ore to steel, roll for recruits (which requires two meeples to activate, as in the “love shack” of Stone Age), and draw Library cards. You can also build components if you have a meeple there and have acquired the two to four resources required. Once you’ve built the ten components, you can build the final piece, requiring eight resources, to win the game. At the end of each round, you flip a number of tiles equal to the value on the Wrath of the Gods round tracker, starting at 0 and going up to 3, where it remains for the rest of the game. The players choose which tiles to flip this time, so you have some discretion here, but you’ll probably get seven rounds in before you run out of tiles.

The Library card deck includes mostly single-use cards, but has about a dozen Artifact cards that you keep for the rest of the game, gaining benefits on every turn. There’s also a sort of internal currency in the game called mystic energy, which you can always gain for free by placing meeples on the center tile, and which you can use to increase the result of a die roll by one, or collect to spend four to place a barrier tile on a peninsula that you discard rather than flooding a tile, or to spend five to un-flood a tile. You need two mystic energy in addition to six other resources to build the final piece on the components board to win the game, but one of the components lets you get two mystic energy per meeple placed there, so if you get to that point acquiring more mystic energy is less of an obstacle.

The game is highly customizable by difficulty, with multiple suggested configurations of components to use in each game and the ability to make the Misfortune deck more punitive. With two or three players, you draw four Misfortune cards as a group; with just two players, you also get a Hologram meeple that takes on an additional role and may take one action like any other meeple. There’s also a solo mode that really works, letting you play one main role, one secondary role with the Hologram, and use a robot meeple to boost one or two of your own meeples by adding 2 to their die rolls. In solo mode, you get a free mystic energy token at the start of every round, and then draw four Misfortune cards in that phase.

What really works about Atlantis Rising, which I’ve read is a change from the first edition, is that the mechanics of the challenge are simple to understand and implement. The complexity is all on the players’ side – how best to deploy your meeples, which components to build, even which tiles to use on each round because of the risk that they’ll be flooded before you get to take your actions, which amounts to a lost turn for those meeples. It’s also quite solid as a solo game.

The game is out of stock in most places right now – it’s on amazon but for a gouging price – and Elf Creek has indicated there will be a new print run available in Q1 of next year. If you enjoy cooperative games, and want something a bit more difficult than Pandemic, I’d check it out.

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→ August 25, 2020
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Fairy Trails.

Uwe Rosenberg’s Patchwork is one of the best pure two-player games on the market, combining polyomino tiles, a rondel mechanism for tile selection, and a little bit of take-that into a fun but reasonably intense two-player experience. His newest two-player title, Fairy Trails, is something quite different for him, a lighter game in both theme and mechanics, but unfortunately it falls a bit short of his prior standard, including cute art I thought made the game harder to play.

Fairy Trails comprises a deck of cards, each of which shows two colors of trails on it extending out to all four sides, and nineteen tokens per player. On each turn, you will play one of the three cards in your hand to the table, and will try to complete trails in your color. Some of those cards show trails ending in cul-de-sacs, but most extend the trails to one or two other edges of the cards, so finishing them involves a little advance planning. Trails also have spaces on them for houses, and once you’ve completed a trail in your color – meaning that the trail is closed at all ends, with nothing terminating at a card edge – you can place your tokens on all of those house spaces. The first player to place their 19th house token wins.

The game’s simplicity is its best feature; there’s almost no learning curve here. Once you see how the trails work, and that you aren’t just looking for cul-de-sacs but need to try to loop your trails back to themselves, and can also stymie your opponents by making that harder, you have the game’s mechanics. Turns aren’t necessarily that quick, however, because of the number of permutations you have to work through to choose which card to place, where to place it, and then which orientation, most of which won’t end up closing a trail completely, leaving you to consider whether to extend an existing trail, hoping to get more house tokens on it when it’s completed, or move it closer to completion.

That leads to the game’s biggest issue, the art, which is pretty enough but makes parsing the trails’ routes much harder. The two colors are distinct enough, but the trails overlap each other in confusing ways, making it hard to see the trail that’s ‘underneath’ the other one, and since the background of the yellow trails is a grayish-purple, it looks too much like the color of the fuchsia trails. The trails are also drawn in a wispy style, like a font with too many serifs, which may improve the aesthetic value but also contributes to the confusion about where the trails go. The dark green backgrounds also don’t quite help – they don’t provide enough contrast with the two trail colors, yellow and fuchsia.

Two example cards from Fairy Trails.

My other main complaint with Fairy Trails is that the mechanics themselves aren’t that interesting; it’s like a poor man’s Carcassonne, where your moves are somewhat limited by your cards, but here you can’t try to jump into your opponent’s trail to steal points, and with just a single feature to complete and score, the game is kind of repetitive. You can add a card to make it harder for your opponent to close one of their roads, which means they can’t place any house tokens on it, but you might do so at the expense of a move that would help close one or your trails, or extend it in a way that’s more profitable when you do close it, so the take-that element exists but is of limited strategic value.

I had a hard time teasing apart the two problems I had with Fairy Trails. Would I like the game more if the art weren’t visually confusing, so that evaluating moves or scoring trails was faster? Rosenberg’s heavier worker-placement games often suffer from a surfeit of mechanics and scoring options; would the art here have bothered me less if, say, there were one more way to score, or one other option beyond just building trails? I did play this with a younger player who likes games, but she ended up losing interest halfway through, I think because it was such a long process to close her trails and place tokens on them. Fairy Trails seems like the core concept for a good, light two-player game is somewhere in here, but it’s not finished the way that Rosenberg’s games usually are.

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→ August 20, 2020
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Port Royal.

Port Royal came out in 2014 and was brought to the US in 2017 by Steve Jackson Games, one of the oldest extant board game publishers, who first rose to prominence with the 1980 game Car Wars and have since had success with the extensive line of Munchkin games. Designed by Alexander Pfister (Isle of Skye, Great Western Trail), it’s a very simple press-your-luck card game with a pirate theme to make Sid Meier proud, where players draw cards from a common deck and take one per round, but you can bust if you push too far when trying to draw something better, with the ultimate goal of becoming the first player to accumulate 12 victory points from cards and expeditions.

That deck has three main card types: ships, persons, and expeditions. The ships all have gold coin amounts ranging from 1 to 4 coins, and if you choose to take that ship, you get that many coins, represented by cards drawn face-down from the deck. (Their face-up side has no meaning when they’re used as coins.) They can also show a number of crossed swords on the bottom of the card, ranging from 1 to 6, or just a skull and crossbones. If you draw two ships of the same nationality on your turn, however, your turn ends immediately and you get nothing.

The persons can cost anywhere from 3 to 9 coins to hire, and they come in seven basic roles. The most common are the Sailors and Pirates, who are worth one or two swords each, respectively. You can use all of your pirates together to ‘repel’ any ship with a sword number equal to or less than your pirates’ total number of swords, discarding that ship card but keeping your pirates. This is one way to reduce your odds of busting on a turn, although you can’t do anything to repel ships with the skull & crossbones on them.

Other people you can hire give you lasting benefits for future turns. The Settler, the Priest, and the Captain all can help you complete Expedition cards, which require two or three of those in a specific combination and grant you 4 or 6 victory points. The Jack-of-all-Trades costs a bit more but is a wild card that can represent any of those three people for the purposes of fulfilling an expedition. The Governor lets you take a second card on your turn. The Admiral gives you 2 extra coins if it is your turn to take a card and there are at least 5 cards in the display. The Mademoiselle lets you pay one fewer coin to hire a person. The Jester gives you 1 coin if there are no cards in the display when it’s your turn to take a card – even if that’s because you busted. Traders give you an extra coin if you ‘trade with,’ meaning take the gold coins from, a ship of their matching nationality.

Once you’ve completed your turn by taking a card, if there are any cards remaining, all other players get the opportunity to take a card from the table by paying you 1 coin and then paying the regular cost to hire a person or simply taking a ship and receiving its gold value. This means what you leave on the table might be a consideration for what you take, or how far you keep pushing your luck – it may be better to keep going rather than take a mediocre return and leave a valuable card on the table for another player who has the coins to buy it.

Pushing your luck can yield another benefit as well. If you can get four ships of different nationalities on to the table without busting, you get to take a second card on that turn; if you get ships of all five nationalities, you can take three cards. There are also a couple of taxation cards in the deck, where all players with 12 or more coins must give back half of their stash, and either the player with the most swords or the fewest victory points gets a one coin bonus.

Person cards can be worth 0 to 3 victory points; expedition cards are worth either 4 or 6 points each, although they require you to turn in Settler, Priest, or Captain cards that are worth 1 point each, so taking an expedition adds 2 or 3 net points to your total. The official victory condition is 12 points, after which you complete a full round so every player has had a chance to be the start player an equal number of times. You can also just agree to play to any point total you like, or to say you can’t win without completing an Expedition, two popular variants.

I’ve played more than 100 games of Port Royal online, and I own the physical game as well (which is just a deck of cards, so it’s really portable). I definitely have my preferred strategy, and I think the Just One More Contract… expansion helps address some of the base game’s issues with certain cards being too valuable. But even the base game is still kind of a blast, because it’s a gambling game at heart. Every turn is a bet, one you can make a little smarter by collecting swords and maybe keeping an eye on what ships have gone by, but ultimately it’s no better than smart luck, and I find it very enjoyable even when I bust a few times and know I can’t come back to win. (Although I did do that once, busting three times early in a game, taking more risks after that to try to get extra cards, and storming back to overcome an 8-point deficit. Good times!) If you’re into push-your-luck games, like the Quacks of Quedlinburg, Clank!, or Can’t Stop, I definitely recommend Port Royal.

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→ July 12, 2020
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Walking in Burano.

Walking in Burano is a 2018 game from Taiwanese designer Wei-Min Ling, who also designed the semi-abstract, chess-like game Shadows in Kyoto; and Mystery of the Temples. Ling owns one of the most important board game publishers in Asia, EmperorS4, which produced Hanamikoji and Realm of Sand, and uses Taiwanese artist Maisherly Chan for the majority of their games. With great art and a fairly simple set of mechanics, Walking in Burano is one of the best EmperorS4 games yet, not quite at Hanamikoji’s level but on par with their other top titles, especially given how quickly you can learn to play.

Players in Walking in Burano will acquire cards from the central market to create three-story buildings on their streets, ultimately filling out a 3×5 grid with five scoring cards, one beneath each house. These represent streets on the Venetian island of Burano, and the idea is to appeal to tourists and locals with various combinations of features on single buildings or streets as a whole. The catch is that building cards come in six colors, where each building (or house, they’re the same in this game) must comprise three cards of the same color, but adjacent buildings can’t share a color – unless you want to use one of your ‘rule-breaking’ tokens to break that rule and cede three points at game-end.

The market has three rows of cards, each of which corresponds to a specific floor of the houses you’ll be constructing. You may take one, two, or three cards from any column in the market, although you must start with the top or bottom row and can’t skip the middle card (e.g., you can take cards 1, 3, 1-2, 2-3, or 1-2-3). If you take an entire column, you don’t get any coins; if you take one card, you get two coins, and if you take two cards, you get one coin. You may then choose to build as many floors as you can afford, with the first floor you build on any turn costing you one coin, the second costing two coins more, and the third two coins beyond that. You get two scaffolding cards that you can move as needed, so you don’t have to build from the first floor up. You don’t have to build cards immediately when you take them; you can keep up to three from one turn to the next.

Once you complete any building of three cards, you can choose a scoring card from the available supply. There are four tourist cards that are worth four points each, and then give you additional points based on what’s showing on the three cards in the building you just finished – one point per flower pot, one point per plant, three points per cat, or two points per cat/awning/lamp/chimney. There are seven inhabitant cards in the base game, the supply of which is more limited, that offer very different bonuses that often apply to entire floors or to several adjacent cards. (I also have the one mini-expansion for the game, which adds three more inhabitants; you shuffle all ten types together and randomly choose seven to use in any single game.)

Once any player finishes their fifth building, it triggers game-end. You get points from your bonus cards, points from some first-floor cards that show shops, and 3 points for each rule-breaking token you still have. All players then count their “closed” windows on cards, those with X’s on them, and the player with the most loses one point per such window.

Even tough turns are quick, there’s quite a bit of strategy involved in Walking in Burano, as you try to collect certain symbols on cards to maximize your potential bonuses from cards you don’t yet have. You can end up losing out on a bonus card after collecting the house cards that would have granted you a huge bonus from it; you won’t end up with nothing, as you get another bonus card, but you’ll probably get fewer points than you’d planned. You are also betting on the availability of future cards, and future symbols, regularly during the game.

The rules also include a solo mode that works extremely well, almost exactly mirroring the two-player rules (where, after each round, you remove all cards in the rightmost column of the market, to keep it moving and create a bit more urgency), but also requiring you to remove one Character bonus card of your choice after each turn. This creates an upper bound on the number of turns you can take, as the game ends either when you complete your fifth building or when there are no bonus cards remaining, after which you score your street as you would in a multi-player game, deducting one point for every closed window you have, then comparing your score to the table in the rules.

Walking in Burano only came out in the United States in 2019, although the Chinese edition was released a year earlier, and I think the timing of the U.S. release during the flood of July/August releases last year led it to fall through the cracks. It’s pretty great across the board – easy to learn, quick game time, deeper strategically than you’d guess at first glance, with gorgeous art. Light-strategy games in small boxes that give you more to chew on than the typical short game are right in my wheelhouse, since it’s just easier to get people to sit for a game that’s short and that doesn’t require a long explanation of the rules; Walking in Burano is exactly that kind of game.

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→ June 18, 2020
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Mystic Market.

Mystic Market ($20) is a marvelous light family game that you can quite easily play with your kids, requiring nothing more than color-matching and a little arithmetic to play. There are just a few simple elements to it, with some direct and indirect player interaction, perhaps a little too much take-that for younger players, but also enough to satisfy gamers who insist on a bit of meat even in their lighter games. I’m surprised it hasn’t found more of an audience.

Players in Mystic Market are trying to gather ingredients, in the form of cards in six different colors, that can be combined in sets and sold for prices that vary depending on the color of the ingredients – and the timing of the sale. You can collect these ingredients by buying one or two of them them from the market for one, two, or three coins apiece, based on their current sale price on the ingredient track, or by swapping cards from your hand, one or two at a time, without regard to color or current value.

The game has a track with little ingredient bottles (filled with glitter), and at the start of the game they’re arranged in rainbow order, with purple at the bottom and the most valuable at 15 coins for a set, while red is at the top and returns only 5 coins for a set. The catch is that when you sell a set, its color drops in value to the top of the track (5 coins), with every other color falling down the track to the next highest price. Thus there’s a huge timing element to the game, both in terms of when to sell your own sets, and whether to try to take cards your opponents might need to sell high-value sets.

The number of cards you need for a set also varies by color, from four red cards or four orange cards for a set of those colors to just two of blue or purple, and their frequency in the deck declines as their starting value increases. Thus at some point during the game the purple set, which is hard to collect given its scarcity, will sell for just five coins because someone else just sold a set, and collecting it becomes less profitable.

It rarely makes sense to sell sets at 5 or 6 coins, and you’ll usually sell at 10-12-15 and turn a profit. The heart of the game is that process of buying and selling, working the timing of your sales, and keeping an eye on what your opponents are collecting, whether it’s to grab a card they might need or to time your sale in a way to get the high price for yourself and make whatever your opponents were collecting far less valuable. There are also three “supply shift” cards randomly shuffled into the deck each game; each one moves one bottle to the highest value on the track and moves everything that was higher than that bottle back to the lowest point, disrupting all of the values and thus your strategy if you were mid-set.

If that were all there was to Mystic Market, it would be good enough but probably wouldn’t have much replay value. The Potion deck contains cards with special, single-use powers, and you can buy those for specific combinations of two ingredient cards. Buying (“crafting”) a potion is a free action, as is using any potion. Several of them do something nasty to an opponent – stealing a card, forcing them to discard a card of your choosing, swapping a card with you – while others boost you, such as letting you sell a half set for full price, letting you substitute a potion card for one ingredient to complete a set, or letting you take a single ingredient card for free. There’s even a card that has no power at all, but can be redeemed for 15 coins, very useful if you’re left with a blue card and a purple card but can’t complete either set later in the game. You could choose to remove the take-that cards from this deck if you don’t want to play with them when you have younger kids in the game, but I do think they add quite a bit to the game both in strategy and in making it harder for one player to run away with things.

Mystic Market plays two to four players and is suitable for kids as young as 8, maybe a little younger if they’ve played a few games before; there’s a little text in the game, on the Potion cards, that requires sufficient reading and thinking skills that would stymie much younger players. You play until the ingredient deck is exhausted, which I’ve found takes about 45 minutes for a full game regardless of player count. If you’re looking for a good family game while we’re all still mostly staying home, I think this would fit the bill.

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→ April 30, 2020
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Gingerbread House.

Phil Walker-Harding is probably my favorite game designer right now, one of the only names that would get me to buy a game just because I saw it on the box. Silver & Gold was my #2 game of 2019, and Imhotep the Duel was #6. Gizmos made my top ten for 2018. Cacao remains a favorite, and I think his Sushi Go! Party is one of the best games for 5+ players. Imhotep itself was nominated for the Spiel des Jahres. I’ve never played a PWH game I didn’t like, and still have one unplayed game of his (the first Adventure game).

Gingerbread House came out in 2018-19, and I think it’s slipped a bit through the cracks because he’s released several better games in the last two years that overshadowed it. I suspect the goofy theme and art might lead people to think it’s a simpler game than it is, although Broom Service had very similar art and that’s definitely more complex than this game is.

Gingerbread House is like a kicked-up Kingdomino, or a better reimagining of Kingdomino than Queendomino is, asking you to place two-square tiles on your 3×3 house card to gain tokens based on what you cover up. You’ll then collect those tokens and use them to buy points cards, while also gaining up to three bonus cards for each level you complete. There are specific twists to the rules beyond that, but that’s the framework of the game – you place one tile on each turn, collect two things (or maybe three), and then buy a card if you can.

There are four colors of tokens in Gingerbread House, and the cards you buy, which represent humans and monsters you’re trying to ‘trap’ by enticing them to your house, can require as many as eight tokens and can require tokens of just one color or up to all four. You’ll cover two spaces on each turn and take tokens matching those spaces, although if you cover two spaces showing the same symbol, you get a third one as a bonus. There are other spaces that give you an extra stairway (see below), or let you swap one token for another one, or let you reserve a card to try to pay for it later.

If you’re mathematically inclined, you probably caught on to the fact that you can’t cover a 3×3 grid with two-square tiles. You start the game with one ‘stairway’ file, which is a square ring that allows you to see what’s beneath it. You can place that for free at any time, but you must cover it with a regular tile on the same turn. You also get a one-square wild tile whenever you pay for a card, and must place it immediately, taking whatever token or symbol you’ve covered; if you later cover the wild tile, you can take any color token or treat it as if it were any of the other three symbols.

When you complete a level of your house, you get to take a bonus card that’s worth points at the end of the game. In the basic game, you just take the highest-points card still on the table. In the advanced game, however, you choose one of the bonus cards, which are dealt out at random at the start of each game, and can thus tailor your strategy afterwards to maximize the points you get from the cards you obtain. Individual character cards are worth 4 to 10 points, but bonus cards can be worth as much as 12 points, so if you play your cards correctly (pun intended), you can gain the equivalent of another character card or more from each bonus card. There are some bonus cards that only give you two points, but instead reward you with tokens based on what’s visible on your board at the time you take them.

That interplay between bonus cards and character cards is what makes Gingerbread House more than just a basic family game. You could certainly ditch the bonus cards and play with younger kids, but the bonus cards are what make this fun for adults. What Gingerbread House lacks is any real interaction between players. Unless two of you are gunning for the same card, and maybe one of you uses the ‘cage’ symbol to reserve it, you’re mostly working on your own. That’s fine – Gizmos is like that, Silver & Gold is like that, Bärenpark is definitely like that – and the game is fun enough for a couple of plays, but I don’t know that this has the same huge replay value as his better games.

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→ December 9, 2019
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Imhotep The Duel.

Imhotep came in at #24 on my top 100 boardgames list last month, one of the best games from one of my favorite designers, Phil Walker-Harding, the same mind behind Gizmos (#37), Sushi Go Party! (#87), Bärenpark (#88), Silver & Gold (#48), and Cacao (#43), although if there’s a hiccup with Imhotep it’s that the game, designed for 2 to 4 players, becomes a bit like two-player solitaire if that’s your player count. Enter this year’s Imhotep The Duel, which reimagines the base game for two players in a way that forces more interaction and requires you to think about what your opponent might be doing far more often than you would in the original game. It takes the feel and many of the main elements of Imhotep but changes some of the fundamental mechanics to make it a new game, and also condenses the playing experience to about 20 minutes. Like 7 Wonders Duel, this is how a two-player version of a larger game should relate to its original.

In Imhotep The Duel you’re still trying to unload goods from boats on to four different spaces – the obelisk, the temple, the pyramids, and the tombs – but this time, each player has their own track of four player spaces, each of which has a basic and advanced side, and all of the goods are different, whereas in the original you were just placing your stones. Each player has four meeples and will place them on a 3×3 board that has six boats along two of its adjacent sides. Each space on the grid corresponds to one space on each of two boats, one touching its column and one its row. When a boat’s row/column has at least two meeples on it, either player may choose to unload the boat, assigning the goods in those spaces to players whose meeples were in the corresponding spaces.

Imhotep The Duel setup

On a turn, you may place a meeple, unload a boat, or use a blue action tile that lets you do something more powerful. If you’ve placed your four meeples, you have to unload a boat or use an action tile that doesn’t require placing a meeple, so there will be frequent unloading throughout the game. The tiles on the boats correspond to the four spaces on each player track as well as the blue action tiles, which let you place 2 or 3 meeples in one turn, steal any single good from a boat (skipping the meeple/unloading mechanism), swap two tiles on one boat and then unload it, or place a meeple and then unload up to two boats in one turn.

The basic scoring sides for the four spaces on your track are straightforward, and three of the four have a competitive aspect to them. The obelisk tiles are all identical and score one point per tile, but the player who has the most at the end gets a six-point bonus. The pyramids come in two colors with six tiles in each color available, and each tile you place on one pyramid is worth N points, where N is the number of tiles you’ve placed there so far – so 1-2-3-4-5-6 tiles are worth 1-3-6-10-15-21 points. Since those are scarce, going for the same pyramid as your opponent limits both of your upsides. The tomb tiles are numbered 1-12, each unique, and you score for contiguous groups of tiles, with those values also scaling up with a maximum of 5 adjacent tiles for 25 points. Groups of 6+ also score at 25, so your opponent might try to give you a tile that joins two of your groups and takes potential points away. Only the temple tiles are noncompetitive – each has 1 to 4 dots on it representing its point value.

The ‘B’ sides introduce a bit more competition and strategy but are still pretty simple to grasp. The obelisk gives a bonus of 12 points to the first player to get to 5 tiles and 6 points to the second, but if one player gets 10 tiles they get all 18 points. The temple switches from one point per dot to points for collecting sets of tiles with 1, 2, 3, and 4 dots. The pyramids now only score for your pyramid with fewer tiles on it, and you lose 6 points if you have 0 tiles on either pyramid. The tombs now score 4 points per group of tiles, with one tile still constituting a group, so you want to separate your tiles as much as possible (e.g., only getting odd-numbered tiles).

When there are no longer enough tiles in the supply to refill a boat a player has unloaded, that boat is removed from the game. The game ends when the fifth boat has been unloaded, so there will always be one boat (with three tiles on it) that isn’t unloaded. Players add up their points from the four scoring areas, then gain one point per unused blue action tile and one per meeple still on the 3×3 board. I timed my last game, against a player who’d never played this version before, and we finished in just under 20 minutes. It’s fun, portable, and fast to set up & play, and I’ll put it among my top ten two-player games when I next update that list. I got it for $13 on sale but it’s still just $19 on amazon.

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→ December 6, 2019
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Pandemic Rapid Response.

Pandemic Rapid Response is the latest brand extension to the Pandemic cooperative game franchise, which now includes the two Legacy seasons and multiple spinoffs in specific geographies, but all of which adhere more or less to the original game’s mechanics. This one, however, is a completely new game with the Pandemic theme pasted on to it, adding a real-time element and a lot of dice rolling, removing all of the path-finding aspects of the original and creating a more tenuous connection between the game play and the theme itself. It’s available exclusively at Target.

In Rapid Response, two to four players play crew members on a plane that brings emergency supplies to the worst-affected cities in a global outbreak. There are five types of supplies, represented by four cubes each of five colors in separate rooms on the plane, and a track of cities around the outside of the board with a plane token to move around it. In the most basic version of the game, you start with two cities already asking for help, which means they need four or occasionally five supply cubes in a specific combination, and you must gather those supplies from around the ship in a convoluted fashion so you can deliver them from the cargo bay. You start with three ‘time tokens,’ and lose one each time the hourglass runs out, at which point you also unveil another city card that is requesting assistance – three more, in total, in the starter version. The hourglass runs long enough for multiple player turns, but you have to move quickly and make split-second decisions. When you deliver to a city, you remove that card and gain one more time token; if you run out of time tokens at any point, however, you lose the game.

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Each player has six dice that show various symbols on the six sides – the five supply types as well as an airplane symbol. You start your turn by rolling all of your dice, and then you may reroll any or all dice up to two more times at any time during your turn. You can spend any die, regardless of face value, to move to an adjacent room on the plane. You can spend a die with a plane symbol to move the plane one city in either direction. If you’re in a room and have dice with the matching supply symbol, you can place those dice on the room’s track; once you get at least four dice (it varies by room), you can ‘activate’ the room, take the displayed number of cubes, and then roll all of those dice to see how much ‘waste’ you generated, based on how many circled symbols you get on the roll. You then move up the waste track in the recycling room, which goes from 0 to 10; if it exceeds 10, you lose the game as well. You take your cubes and move them to the cargo bay, which holds up to ten cubes until you deliver some.

You can deliver goods by moving to the cargo bay and using one die with a plane symbol to activate it, after which you return those goods to their original supply rooms. You can also deal with the excess waste by going to the recycling room and placing up to five dice on that room’s track, losing them for the rest of the turn but moving the track marker back up to four spaces.

Each player has a unique role, as in the original Pandemic, that gives you some small but useful benefit, such as getting to move the plane 1 or 2 spaces per die, or letting you roll one fewer die for waste when you activate a room. One role lets you reroll up to two more times, for a total of five, which I think is the most useful of all, although I am not quite sure of that after just a few plays.

You can increase the game’s difficulty by using more city cards both at the start and in the mini-deck you’ll use during the game each time the hourglass is emptied; or by using the Crisis cards, which just throw more obstacles in your path, like the ones that sit atop already-played city cards and require you to deliver one specific cube to satisfy the crisis card first before you can make a second delivery to complete the city card. I don’t think they’re necessary, but they do add another wrinkle to the game.

The challenge is already pretty difficult, and I think you should be prepared to bark a lot of orders or “suggestions” at each other while you play because your time is so limited. You start the time, the first player rolls, does a few things, rolls the remaining dice, tries to do something else, maybe rolls a third time, stops, and the second player has to jump in immediately to start their turn. It’s a frenetic experience, which isn’t everyone’s cup of tea, but it’s a big switch from Pandemic, which is also very tense but draws it from the game itself rather than a timer. Pandemic Rapid Response plays two to four players but is definitely better with more; you need the advantage of more pawns moving around the ship to be more efficient with your deliveries. It’s also the shortest Pandemic game by playing time; the box promises 20 minutes and I think that’s accurate once you get the rhythm down, although before that, the games might be shorter because you lose so quickly.

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→ November 25, 2019
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Palm Island.

Palm Island is a solitaire game with one of the most clever gimmicks – I use that term with endearment – I’ve seen in a while: You hold the entire game in your hand, hence the name “Palm Island.” It manages to sneak in some resource management and ‘building’ concepts while forcing choices by setting up the cards so you can’t do everything you want to do. You’ll cycle through a small deck of cards eight times, trying to gain as many points as possible by using the cards with resources on them to upgrade the cards worth victory points.

The base game comprises a deck of 17 cards, one of which is just the round marker, while the others are double-sided and have different abilities depending on which side is pointing up. After shuffling the other 16, all in their starting orientation, you look at the top two cards and choose your actions. You can rotate some cards 90 degrees clockwise to make a resource (fish, wood, stone) available, often for free but sometimes at the cost of other resources. When you use a resource card to pay for something else, you rotate it back 90 degrees counterclockwise. You may also spend resources to turn some cards 180 degrees, unlocking more powerful abilities/more resources/more points, or to flip them over, unlocking even more of the same. The base deck has two housing cards that you can upgrade three times (turn 180, flip over, turn 180 again) to get to 6 victory points, and two temples that you can upgrade three times to get to 10 victory points, but I don’t think it’s possible to hit all four of those maximum figures with the original deck, and the order in which those cards appear affects your ideal strategy.

There are a handful (pun intended) of other restrictions on how you use these cards. You can only have four resource cards rotated to the right at any time; to rotate a fifth one you must discard one of the others by rotating it counterclockwise back into place. When you rotate a card 90 degrees to make its resource(s) available, you place it at the back of the deck; if that card returns to the top before you’ve used it, you lose that resource, rotating the card back 90 degrees counterclockwise and also placing it at the back of the deck. You can keep the top card in place and keep using or discarding (to the back) the second card, but once you reach the round marker card, you have to use or discard that top card as well – you can’t roll it over into the next round.

Palm Island card play

Some of the resource cards can be worth points if fully upgraded as well, although it can be at the cost of some of its resource powers – the Logger cards, which give you one wood at the start and two wood if upgraded twice, are worth five points if upgraded all three times but don’t give you any wood in that state. You have to upgrade at least some of the resource cards to be able to max out the housing or temple cards, the latter of which requires eleven total resources to go from its 2x state to its 3x state. This combination of features means you have to make a series of choices that will be determined by the order of the cards in the deck. The rules say you can look through the entire deck once before you start, but once you’ve started you can only look at the top three cards.

The game comes with Feat cards you can gain by hitting certain milestones in your games, starting with scoring 30 points, which I did in my first game and do almost every game now, up to some more difficult goals – it took me several plays and a bit of luck with card order to finally hit 40 points – or more specific ones, like upgrading all your Logger cards three times. Those Feat cards are nearly always useful, some more than others, but getting them at the wrong time can mess with your card sequencing.

There are two base decks in the game, so you can play competitively or cooperatively with someone else, although it’s a bit of a kludge for a game that was clearly designed with the solo player in mind. I’ve timed myself and none of my games has taken more than 13 minutes to play. For a novel solo experience it’s worth the price, maybe not as clever or challenging as my favorite solo game, Coffee Roaster, but cheaper and much more portable.

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