→ September 22, 2024
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Parks Roll & Hike.

The game Parks has become a huge hit and a franchise of sorts for publisher Keymaster Games, with two expansions, a lighter spinoff game called Trails, and now a roll-and-write version called Parks Roll & Hike. It carries forward the theme of the original Parks game, but it’s a completely different game – it’s a lighter roll-and-write game that has some superficial similarities to Parks/Trails but almost nothing in common in the play experience.

Parks Roll and Hike takes place over three days, each lasting 4-5 turns, where players will draft dice on each turn between an orange Leader die and several white dice. The dice show symbols that allow you to mark off certain spaces on your scoresheets, which come in cute little notebooks that represent hikers’ journals, definitely the best part of the game’s compact design. You’ll fill raindrops in your canteen to score based on how many columns you’ve filled at the end of each day. You’ll draw sights on mini journal pages and then write three lines in each to gain bonuses. You’ll mark off spaces in four wildlife rows, earning bonus actions for each and then earning points for certain pairs of wildlife sightings. You’ll fill in sun circles that allow you to choose the Leader die on later turns. And you can fill in binocular circles to earn a bonus for every two, starting with free wildlife sightings. At the end of each day, you get some additional bonuses from the Sunset bonuses above the mini journals, and you can spend extra suns to buy some bonus specific to the trail you’re hiking. (The game comes with six trails, each with some unique scoring options.)

The game itself couldn’t be much easier – you pick a die and mark off one or two spaces, then maybe mark off something else because you unlock a bonus. The scoresheets are easy to read and understand, and it’s not the sort of roll-and-write where you get long chains of bonuses like Three Sisters or the Clever series, so turns are pretty quick. You could probably teach this to anyone even if they’ve never played anything more complicated than Yahtzee or Qwixx.

As with most roll-and-writes, there’s a solo mode where you’re mostly just trying to rack up the highest score possible. I haven’t gotten over 42 points, which the game says is a good score but not close to the best, because I clearly haven’t figured out any of the best ways to chain bonuses. In the solo game, you get one die for free on each turn, including the Leader die, but if you spend two suns you can choose the Leader die plus another – and then you get to sketch whatever landmark is showing at the next stop on the trail. It’s a pretty significant benefit and there’s a timing element to it, since you can’t do it on every turn, and there will be landmarks you want to sketch more than others.

If I sound a little conflicted on Parks Roll & Hike, well, I am. I like it and have played it quite a few times since I got my review copy at Gen Con. I like most roll-and-writes anyway, and this is an above-average one for me. I also am not sure if it brings anything new at all to the genre, and I don’t think the theme totally comes through in the game – which is very tough to do with most roll-and-writes, for what it’s worth; Three Sisters is the best example of a game of this style that integrates its theme, but it’s a rarity. Most roll-and-writes or flip-and-writes are just about checking boxes and chaining bonuses, and Parks Roll & Hike does that well enough for me to recommend it, even though I feel like it’s missing a little something in the style department.

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→ September 17, 2024
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Dorf Romantik.

I’ve played the solitaire video game Dorf Romantik, and found it kind of mindless – yes, there is some scoring to consider, but you always have a ton of options, it’s pretty easy to hit the basic objectives, and the game goes on way too long. I don’t really get the appeal, but I’m also not a video gamer of any stripe.

The board game adaptation of Dorf Romantik won the Spiel des Jahres in 2023, and man does that baffle me. The game isn’t bad; it’s just boring, even with the various additional rules you unlock as you play the campaign and get a handful of new tiles and tokens. I’m baffled by its victory, or the claims that either the board or video game is some sort of gentle or relaxing activity. It is aggravating in its dullness, in that while playing I thought of all of the other things I could do.

The board game is sort of a cooperative game, but the rules are the same as in the solo mode and I have no idea how or why you would play this with others. You draw a new hexagonal tile on each turn and place it on the board, making sure it is adjacent to at least one tile already on the map along a side (not a vertex). Tile edges only have to match if there’s a river or a railroad on the edges; otherwise, you can place tiles anywhere you’d like. Some tiles have a flag icon indicating that you must draw and place a scoring tile on them, which will display a number and show the color of one of the terrain types (including the river and railroad). To win the flag and its victory points, you must then create a continuous region of that terrain type, including the tile with the flag on it. Some require an exact number of tiles, while others have a minimum number that you can exceed. (Once a flag is removed, you can of course go beyond the number.) You can’t place a tile with a flag on it in such a way that its flag requirement will already be satisfied, of course. You must have at least three active points tokens on the board at all times; if you finish one, you draw a new tile from a separate stack that will give you a new flag.

At game end, you add up the values of the flags you completed and then score your longest river and longest railroad. That’s the first game, at least, as the box comes with a soft campaign where you mark off circles on a separate sheet to track your progress and then get to open additional boxes that add new rules and tiles once you reach certain milestones. The new stuff adds a little complexity and some additional ways to score, along with some different tiles that do things like combine a river/railroad with a terrain so the latter isn’t split in two, but none of it fundamentally changes the game.

The video game is actually worse, although I know it’s been a massive hit, probably aided by its low price (I got it on sale on Steam for under $10). That game gets longer as you complete its objectives, adding tiles to the stack every time you finish a flag, so you actually have to play worse to get it to end sooner. I suppose in that sense the board game is an improvement, because the tile stack is finite and thus so is the playing time. The video game version also sets objectives based on the number of trees or houses in a contiguous set of tiles, which becomes just the number of tiles showing these things in the board game, another big upgrade because in the video version you’re really just taking the app’s word for it.

I don’t think this game needs to exist in the first place – it’s not so much that it’s bad, but there is nothing original here, and it seems like little more than a brand extension. It’s like solo Carcassonne, which isn’t a thing. Nobody gets in your way and if you don’t get the tile you need this time, you’ll get it soon, because nothing is scarce in the tiles, not even the railroads or rivers. It just … is. I need a whole lot more than that from a game.

(There is a two-player version called Dorf Romantik: The Duel that just came out this month. That might be a lot more interesting, as it has a module that involves some direct player interaction. Or maybe it’s just another cash grab.)

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→ September 16, 2024
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Life in Reterra.

The earth has been devastated by some sort of apocalypse – take your pick, there are just so many options to choose from. Now it’s up to you to try to rebuild your part of the planet, with enough diversity in your terrains to help all species grow, attracting inhabitants and even constructing some basic buildings to get civilization back on track.

Such is the backdrop for Life in Reterra, a new family-level game from designers Eric M. Lang (best known for heavier games like Blood Rage and Ankh) and Ken Gruhl (Cahoots, Happy Salmon, and the underrated Mystic Market) that draws heavily from Kingdomino but offers a ton of replayability because you can change the scoring. It’s a strong filler game, definitely one to play with the kids, that can move very quickly because turns are so simple and most of the complexity within the game is in the scoring at the end.

Players in Life in Reterra – by the way, I’m embarrassed at how long it took me to realize what “Reterra” meant – will build a 4×4 tableau of square tiles, each of which is divided itself into a 2×2 square of one to four terrain types. Some squares have relic symbols on them, which are worth a single point each if still visible at game end. Some squares have gears, which you can cover immediately with an inhabitant meeple for another point at game end, or you can leave open to try to create a pattern of two to four connected gears that you can cover with a building.

The turns are extremely short: on your turn, you either take a tile from the market or use one of the three tiles you were dealt at the start of the game, placing it on your tableau. You place inhabitants on any gears, if you want, or a building if you have the right configuration of gears. That’s it. Go around the table 15 times and the game’s over. I can see why BGG lists a play time of 35 minutes for it – if everyone’s engaged, you can rip through this game really quickly, and usually you can figure out your turn a player or two before it gets to you.

The buildings are the heart of the game, and the best aspect of Life in Reterra is that they’re flexible: The game comes with three sets of building tiles, with five buildings per set, and each building has a double-sided card with slightly different scoring. There’s a recommended beginning building set, but you can mix and match as you see fit, so if my math is correct there are 7776 combinations just in this base game. Some may not necessarily work that well, so the rulebook recommends a few combinations to get you started. Most buildings give you a few base victory points, but they have additional powers that range from sticking a junk token on another player’s relic space (turning it from +1 points to -1 at game end) to giving you one extra inhabitant per turn until all buildings on that terrain area are full to giving you one point per square in your largest contiguous area of one terrain type.

The game-end scoring is where it gets tricky enough that you’ll need an older player to take over. Inhabitants, relics, and buildings score as described above, with the buildings scoring their base value plus a variable bonus for some building types. For every contiguous area of a single terrain type that covers at least 7 squares, you get three more points. There are also special “energy source” tiles that score 8 points each, but only if they’re completely surrounded by other tiles – that is, they have to be in the 2×2 square in the middle of your 4×4 tableau. Counting squares and then moving building pieces aside to ensure they’re counted correctly is where this requires a little experience in dealing with board game scoring mechanics.

If the game only came with one set of buildings/scoring cards, I think I’d get tired of it quickly, just as I got tired of Kingdomino quickly. (Then again, Queendomino added a bunch of new scoring mechanisms, and that game sucked.) I’m more intrigued because there are so many ways to mix up the cards and get a game that’s more or less competitive, or that rewards more or less diversity in terrains, and so on. It’s a strong family-level game, probably not something I’d break out for a game night group but a good one for kids who have reached the point where they can play ‘adult’ games. (My guess is this will be on the bubble for my best-of-2024 list – it’s turning out to be a very strong year for new board games.)

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→ September 11, 2024
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Escape from New York.

The film Escape from New York is a cult classic, a film that is a weird relic in its way, aging more poorly for its simplistic views of the technology of the future than for any social aspects or commentary. A convict named Snake Plissken is sent into the penal colony of Manhattan to rescue the President from the prison gangs that run the island, leading him to team up with three untrustworthy people he meets there to try to complete the mission and escape with the President and a cassette tape (!) with critical information.

It’s perfect fodder for a cooperative board game, and indeed Pendragon Game Studio has produced just such a product, bringing on designer Kevin Wilson (Descent, Cosmic Encounter) to create it. Escape from New York the board game is solid enough and reasonably true to the theme once you get it on the table and set up, but this thing is a massive table-hog with too many components, and the rulebook is way too long and convoluted for a midweight game.

Players play as the four main protagonists of the film – Snake, Maggie, Brain, and Cabbie, with the game using the actors’ actual likenesses on cards and tokens. The game plays 1 to 4 players, although there are no separate solo rules; I assume you just play as a single character in that case, or control any number of characters you’d like. The players will start at the Library in the center of the large board, revealing adjacent spaces before moving into them, fighting prisoners, picking up items, and eventually reaching the Points of Interest spaces where they might meet any of the three Boss enemies (Duke, Romero, and Slag), find the President, or discover something else of importance. The goal is to get the President and the tape and the diagram of one of the bridges off the island, then get all player tokens to the start of the bridge, after which any one player can move everyone off. You need to do this before the Timer deck reaches the final card, which is the only way the players can lose.

That’s the most clever aspect of Escape from New York: You can’t die during the game; you can just run out of time. Players’ actions are all determined by their cards, with each character getting a unique deck and players beginning the game with their entire decks in their hands. If you take damage from a prisoner or a boss, you discard that many cards at random, rather than losing hit points. To pick up your discard pile, you must advance the Timer deck by one card, so this is a drastic choice you want to use only when necessary. Losing a lot of cards to damage results in moving through the Timer deck more quickly.

When you reveal an empty space that isn’t a Point of Interest, you take a tile from either the City or Central Park decks and flip it over, revealing icons that show what you’ll find there. Usually that’s one or two prisoners, but sometimes it’s an item, sometimes it’s a manhole that lets enemies move around more quickly, and sometimes it’s an event symbol that tells you to flip and reveal the top card of the event deck.

On your turn, you play two cards from your hand, choosing them both at the start of the turn before you know the outcome of the first card. Most action cards will advance the Noise tracker on the New York board; when that reaches ten you move a Mission cube, and when all four mission cubes are in the right box you flip and resolve another Timer card. Then you flip two cards from the New York deck, one of which advances the Noise tracker by one space, the other of which tells you an action to take that somehow makes things worse for you. All enemies in adjacent spaces will move into your token’s space if possible. Then the next player goes.

By now, you probably have some sense of just how many components there are in Escape from New York, and I haven’t even mentioned the roadblocks, cars, levels, special action cards, or personal objectives. (It’s semi-cooperative, as any player can turn traitor and try to win by themselves.) The rulebook itself doesn’t even cover everything – I found at least one icon without any explanation, and I wasn’t the only one confused about where the Duke is supposed to appear – and it explains many of the rules completely out of order of how you’d encounter them. A game with this many moving parts needs a quick summary to explain the basic rhythm and then a clearly organized list of explanations of all of the constituent parts of a turn and icons players might encounter. It’s not actually a heavy game, but it looks like one, and sets up like one, and the overlong rulebook (it’s at least 24 pages) makes it feel like one. It’s a shame on some level, because the game is way more accessible than it will seem to new players. All the card text is self-explanatory, and most of what you’re doing is moving, fighting, or “tricking,” a way to move prisoners out of your way without killing them. The setup has close to 20 distinct steps. Even bagging it up is a drag. Despite all of that, I would still recommend the game to players who like a heavier cooperative experience than Pandemic, and certainly to gamers who like the film. (Oh, I saw a video sponsored by the company in advance of the crowdfunding effort where the scapegrace describing the game called the movie “a very old film.” I got so mad I threw my Timex Sinclair 1000 out the window.) I can’t imagine bringing this to my table very often, though, given the setup and the time it’ll take to explain all the parts to new players.

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→ September 9, 2024
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Evergreen.

I loved the game Photosynthesis when it first came out in 2017, as it brought something quite new in its sunlight mechanic and also was striking on the table with its three-dimensional trees of varying sizes. I didn’t think it held up as well on repeated plays, and the cardboard trees took a beating rather quickly.

Designer Hjalmar Hach apparently thought he could improve on the original as well, reimagining the game as Evergreen, which doesn’t have quite the visual impact of Photosynthesis but which makes the game play itself simpler while it makes the strategic aspect more complex. And there’s something clean about the new board and the cards that make the game easier to look at, even if you lose the coolness of the 3-D part.

In Evergreen, players will plant sprouts in six biomes on their own boards and then grow them to small and then large trees, all of which is done by drafting cards in each round. Players choose their sprout locations to build the longest possible chain of trees while also maximizing the sunlight they’ll take in from each of the four directions as the sun rotates around the board. Trees cast shadows behind them, though, so they block trees directly behind them from collecting sunlight (and points).

In each round, players will draft cards that dictate where and what they’ll be able to play. Each card shows a specific biome (or a white background that can stand in for any biome) and an action, the two of which are unrelated. For the biome, you can plant three sprouts, grow two plants to the next level, plant one sprout and grow one plant, or ignore the biome on the card and just do one of those two things in a biome of your choice. For the action on the card, it gets a little more interesting, because actions become more powerful the more often you take them. These include planting more sprouts, growing plants from sprout to small tree or small tree to large, adding a lake that immediately grows two adjacent plants, adding a bush that extends your chain of contiguous trees but won’t collect light, or taking immediate points from the rose action while adding nothing to the board.

The card that isn’t selected by any player goes to the fertility area of its matching biome, which matters significantly for end-game scoring. Each card can have one to three fertility symbol at its top, or a skull showing aridity, or no symbol at all. You discard the cards with no symbols on top, and you place cards with fertility symbols face-up on the matching pile. Aridity cards cancel out the last fertility card played to that biome – when an aridity card is left over after the draft for that round, you flip over the face-up card on that biome’s pile and play the aridity card on top.

The number of rounds in each season varies, decreasing by one for each season, from five rounds in season one (spring) to just two in season four (winter). At the end of each season, you score points for sunlight hitting your trees, getting 1 point for each small tree and 2 for each large one, but a tree only gets sunlight if it isn’t in the shadow of another tree between it and the sun. Small trees cast a shadow of one space and can block a small tree behind them; large trees cast shadows of two spaces and can block small or large trees behind them. This gets tricky as a large tree that receives no light because it’s blocked by a large tree in front of it can still cast a shadow and block large trees behind it, so, for example, four large trees all in a line would score just two points for the first tree and nothing for the next three. (The rule book depicts this way more clearly than I can explain without diagrams.) Then you count every tree in your biggest Forest (chain) of connected trees and bushes, taking 1 point for each in the cluster.

After you do the end of season scoring for winter, each player scores points for every biome by multiplying the number of large trees they have in that biome by the number of visible fertility symbols in the card pile for that biome. This can get pretty large, since that’s how multiplication tends to work, and can inform your strategy throughout the game both in what cards to try to push to the fertility zone and where to focus your construction of large trees. That’s the only additional scoring at the end of the game.

For whatever reason, Evergreen hasn’t quite caught on like Photosynthesis did, and I think that’s part of why it is now available in digital form on Board Game Arena and now as a standalone app for $4.99 on iOS, Android, and Steam. I think it’s a great game and have now played it on the table, on BGA, and on the iOS app (the last one vs AI), so I can vouch for all platforms. It deserves a wider audience than it’s gotten, and I would definitely choose to play it over Photosynthesis thanks to the greater player interaction and simpler components so I’m not always knocking over trees. It came out in 2022, so it won’t be on my best-of-2024 list, but it would have made my top 10 for its actual release year.

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→ September 2, 2024
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Faraway.

Faraway is a very quick game with very few rules, but it’s a real brain-twister in the way that you score your eight Region cards – after eight rounds, you turn all those cards face-down, then reveal and score them one by one in reverse order. Because most cards score based on what else is face up at the time they’re scored, the cards you played last are usually worth the least, and the ones you play first may not be worth anything if you don’t get and play the right cards later.

Faraway comes from designer Johannes Goupy, who has burst on the scene with a flurry of new games in the last two years, including the lovely small-box game Pixies (due out in September in the U.S.), Rauha, Orichalcum, the brand-new heavy game From the Moon, and others; of his games, the only one I haven’t cared for was Nautilus Island, which seemed a bit underbaked, which is definitely not the case with his other titles. His forte seems to be coming up with simple games that pack a lot of strategy into them for their size and weight, at least based on the small sample so far.

In Faraway, all players work from a deck of numbered Region cards, 1 through 68, each of which has at least one of these three elements: fixed or variable point scoring, element symbols, and/or required elements. The point-scoring may be unconditional, but for the most part they only score if you have the required elements on cards that are already face-up when the card is revealed. There are three elements in the game – animal, mineral, and plant – and cards may require two or more of these symbols, the same ones or any combination. Many cards also show one or two symbols in the upper right that are then available to fulfill requirements for cards that appear later. Some Region cards are also “night” cards, with their card number surrounded by a white circle, which can also factor into scoring for some cards. Some Region cards show a map symbol next to the card number, which I’ll get to in a moment.

You start the game with three Region cards, and you will play one of them face-down. All players reveal their played Region cards at the same time. The player with the lowest played Region card gets first draft from the market, which has one more card than the player count and is visible before you choose what to play in the current round, so you can factor that into your decision of what to play. This process continues for eight rounds, although in the final round you skip the market phase.

You play your cards left to right in a line in front of you, and the order matters in two ways. The first is that if you play a card with a higher number than the one you played right before it, you get one or more Sanctuary cards. These can either offer additional points, provide additional elements, add another night symbol, or even have a different card color to qualify for certain Region cards that score based on the colors of cards you have. If you have any cards in your row with map symbols, when you get Sanctuary cards, you get one extra one for every map symbol you have showing, and then you choose one Sanctuary card to keep.

When the eighth round is complete, players all turn all eight of their Region cards face down, but keep their Sanctuary cards face up. You then begin scoring by turning over your rightmost (last played) Region card, scoring it if possible; then you move to the left and turn over the next card, scoring that if possible, and so on. That last played/first scored card will only meet its requirements if you have those elements showing on Sanctuary cards. When you get to your first played/last scored card, however, all eight of your Region cards will be face up, and you will have everything available. That means that one fairly basic strategy is to play a high-point card with a lot of required elements in the first or second round, and then playing the rest of your cards to try to fill those requirements. I won a two-player game on BGA against a much higher-rated opponent where I only scored three of my Region cards, including zero of the last four I played. Those cards were worth 24, 13, and 12 (3*4) points, and I tacked on 17 more from Sanctuary cards to dance to victory.

There is a good bit of luck involved here in the card draws, and you can end up behind the eight-ball if you’re getting cards that don’t fit your plans but are also high-numbered enough to keep you from drafting first in subsequent rounds. I think that’s just baked into the game; you have to cope with some randomness and just plan around it as best you can.

There is a whole lore behind the game’s theme and artwork that didn’t do a whole lot for me, other than that I appreciated the bold color choices on the cards (with patterns on a horizontal line in each color’s design to allow color-blind players to distinguish them). I didn’t expect to like it because of the silly art, but it’s more of an abstract game with a theme that’s sort of pasted on. I’ve learned not to judge a board game by its cover, at least, and the art here doesn’t get in the way of the game at all. Pandasaurus has brought this one over to the U.S., along with Goupy’s game Pixies; another great small-box game, Knarr; and another in my review queue, Courtisans. Faraway is my favorite of the batch so far.

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→ August 28, 2024
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Gloomhaven: Buttons & Bugs.

I’m not a Gloomhaven guy, for a variety of reasons, but foremost among them is that I just don’t care for modern role-playing games. I did play a little pen-and-paper D&D in the 1980s, and got into several CRPGs, including the Bard’s Tale, before going all out on the Baldur’s Gate series. Those experiences cemented a style of RPG in my brain that’s hard to dislodge; if a modern RPG isn’t built on the same framework, it feels counterintuitive and slow to me.

Gloomhaven: Buttons & Bugs gives me that same feeling, although I do respect the cleverness of the design and the way it packs a lot of game into a tiny box. Based on a fan expansion for the massive, $120, 20-pound Gloomhaven tabletop RPG, Buttons & Bugs is a strictly solo endeavor that has 20 scenarios to play through where your character gains levels, skills, and items … but the combat system at the heart of the game is so clunky that it drove me kind of nuts. (It’s between printings, but you can pre-order the second printing here, with shipping expected in September.)

In Gloomhaven: Buttons & Bugs, your intrepid hero has been debiggified (my word, not theirs) to a miniature size and must fight through a series of adventures to get back to some kind of final boss that will reverse the curse and make you full-sized again. The battles will increase in difficulty, and your character will gain some new skill cards, better items, and a very modest number of hit points as the game progresses.

The combat system revolves around cards, and I don’t care what Gloomhaven fans say – this is the clunkiest combat system I’ve ever seen. You start out with four cards in your hand, with two actions on each side. You’ll pick a top action from one card and a bottom action from another on each turn. If those are the A sides of the cards, you’ll pick them back up and flip them to the B sides, which have different actions. Once you’ve used all of the B sides, you have to rest to pick them back up, but you will lose one card from your hand each time you do this. If you ever have just one card left in your hand, you lose the scenario. (You also lose if you run out of hit points.) Top actions usually involve attacks; bottom actions usually involve movement. That means if you’re hemmed in by a monster and just want to attack with both your actions, well, tough luck – you’re going to waste some of your turn with movement points you can’t use. I played several scenarios as the thief, and there’s a lot of movement on the thief’s initial action cards that is close to useless on the early maps because there’s no place to run, literally.

There’s also a single die with three values on it that works as a sort of attack modifier for you and determines the monsters’ initiative and exact actions (skewing towards more movement or more offense) on each turn. It’s fine for the monsters, as it mixes things up a little bit, but for you it’s just a nuisance – it adds a tiny bit of randomness in most cases, adding or subtracting one from your attack value, except very rarely it can either double your attack or void it entirely. Remembering to use it and then move the peg down the board to track the current modifiers was more trouble than it was worth.

I think the design here also presupposes some familiarity with Gloomhaven’s combat system, icons, and terminology. I spent an inordinate amount of time trying to figure out what one symbol meant, since it’s not explained on the one reference card with the game itself, so I had to read the online rules (accessible with a QR code) and then go re-read them to find the symbol, which was just off to the right of my phone’s screen. It’s a dark element, and while it appears on one of the thief’s starter cards, there’s no explanation anywhere in the box of what elements are, and I don’t think you can even use that bonus action (+2 to your attack if you have consumed a dark element) with that initial card set.

I absolutely love the idea of this game – a solitaire dungeon-crawl with a solid story that’s a little bit funny and that has some great components to keep the game truly compact, like the hit point dials you use for yourself and for your adversaries. A whole campaign in a box the size of a new set of business cards is awesome. If the game had a more user-friendly combat and item system, I probably would have played it all the way through. It’s just too fiddly for me, and that may be just a function of my own experiences playing RPGs with other ways of handling combat.

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→ August 10, 2024
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Age of Wonders: Planetfall.

Age of Wonders: Planetfall is a 4X video game from Paradox Interactive that came out in 2019 and, from my reading, had all of the trappings of that genre, from resource management to economic and military development to a tech tree. Hobby World published a board game adaptation from a first-time designer that borrows the art from the video game but has nothing more to do with it, slapping the IP on a bad Splendor clone that might be more fun to play if it didn’t try so hard to get the sci-fi art and theme involved in game play.

Age of Wonders: Planetfall has seven decks of cards representing the seven planets players will “explore” over the course of the game, with cards in each successive deck increasing in cost and value. Cards can require you spend either strength or energy, and they may have a minimum experience level before you’re allowed to purchase it. For each round, you shuffle one planet deck and deal either all of the cards (4-5 players) or all but three cards (2-3 players) to the center of the table in three rows, next to the operations board that shows levels I, II, and III; each card shows three levels of costs and they become slightly less expensive at higher levels.

Players will go twice per round, moving their ship to a card or a space on the operations board, resolving those, then repeating the cycle before all remaining cards are removed from the game to make room for the next planet. The turn order depends on what cards players chose in the last turn; you resolve cards left to right, starting with level I, and then move each player counter to the topmost empty spot on the ops board to show turn order for the next round. You can choose any card on any level as long as you have the resources and/or experience required to buy it; every deck has several “power-up” cards that just give you energy and maybe a victory point or two, and you can also choose one of the three spots on the operations board to get 5-7 free resources or victory points or experience, so you can’t end up without a legal play.

Each player has an individual player board with four tracks, three in the middle and a victory point track around the outside. Strength and energy are expendable resources; you spend them to gain cards, and each has a maximum you can get at one point. Experience and victory points never go down, with experience maxing out at 10 while VPs have no limit. You have to gain experience as the game progresses or you won’t be able to acquire valuable cards from later planets.

Most points in the game come from the VPs you get as you go from cards, but each game also begins with three goals (public objectives) players can shoot for, some of which are competitive (points for having the most of something) while some are open to everyone (e.g., one point for every strength you still have left at game end). A few cards also provide game-end bonuses, although those only appear in the last 2-3 decks so you can’t plan ahead too much for those.

It’s a light engine-builder along the lines of Splendor but with the sliding resource scales seen in dozens of other games, such as The White Castle and Kh­ora. The art and card names are kind of a distraction here, and I didn’t feel the theme at all – the rulebook even talks about combat against a neutral opponent but that just means you can buy some cards with strength instead of energy. Instead, it’s Splendor in Space, except that game already exists in Space Explorers, which I think does a better job of grafting Splendor’s engine-building framework on to a space theme, and gets a little better with some of the expansions. I haven’t played the actual video game here, but from reading about it I don’t see where the connection is – this seems like an IP extension to cash in, without a lot of meat to the game behind it.

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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.

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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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