W. Eric Martin

@wericmartin.bsky.social

Publisher and founder of Board Game Beat: independent board game news, reviews, essays, interviews, and more. Visit the site at https://www.wericmartin.com

Distribution drives growth, not games published in-house

Asmodee Reports €422.1 Million in Sales for Q1 2026

Tabletop gaming company asmodee has reported its financial results for Q1 of its current financial year, which runs from April 2026 to March 2027. The bottomline result is that net sales during that quarter equaled €422.1 million, which is a 20.9% increase over net sales the previous financial year. Normally I refer to asmodee as a "publisher", but "tabletop gaming company" seems more accurate given that asmodee's growth seems primarily powered by its distribution of other companies' games. In the chart above, you can see that sales of "games published by asmodee studios" increased by only 1.8% compared to the previous Q1, whereas "games published by partners" increased by 27% — which is similar to the Q3 results I wrote about in April 2026. If you're wondering what's driving the growth in terms of product categories, the answer is "a bit of everything". From its report: Sales of board games rose 16% from the previous quarter to €102.8 million, trading card games rose 23.1% to €284.8 million, and "other categores", which includes items such as cards sleeves, boxes, playmats, and other accessories from asmodee's internal studio Gamegenic, rose 18.6% to €34.5 million. Asmodee notes €240.7 in outward cash flow for the quarter, with €233.7 million of that being the result of investing activities, "mainly related to the acquisitions of ATM Gaming and Exploding Kittens". (Head to this April 2026 post for more details.) Continuing from above: "The cash flow from investing activities was also impacted by the acquisition of the full publishing rights of _Time's Up!_ [details] as well as investments in games development." As far as I can tell, the cost of _Time's Up!_ is not listed separately in the report, but we do learn this: "On May 6, 2026, the group completed the acquisition of the remaining 45% non-controlling interest in Exploding Kittens Inc. for a total cash consideration of USD 173.8 million." Asmodee also paid €16.7 million in interest on its bond debt, which is €631.4 million as of the end of June 2026. The report is accompanied by a note from asmodee CEO Thomas Kœgler that has a couple of interesting sections. Here's one: > Following the acquisition completed in early April, the integration of ATM Gaming has progressed well, with the business performing in line with our expectations. The distribution takeover of France became effective at the end of May and we have also begun deploying our hybrid distribution playbook in multiple countries, such as Belgium and the Netherlands. ATM Gaming has made an excellent start to the year, with Jumo winning the Grand Prix du Jouet 2026 in France and a successful first partnership with Quick, a quick-service restaurant chain resulting in the distribution of more than one million game samples. Apparently asmodee also partnered with restaurant chain Chuck E. Cheese on a Spot it! promotion that transformed "the fast-paced matching game into a multi-platform experience spanning in-fun center gameplay, interactive dance floor activations, digital content, social engagement, and exclusive family activities". Here's more from Kœgler: > We continue to see attractive opportunities to expand our Board game portfolio organically, through both our evergreen franchises and new releases, including LEGO® NINJAGO® Board Game: Destiny’s Bounty Adventures, Azul Kids and The Lord of the Rings™: Circle of Conflict™, as well as through disciplined acquisitions. The TCG market remains well positioned for growth, supported by a compelling release calendar and innovation from publishers. Looking ahead, the upcoming Pokémon 30th anniversary celebrations, together with the Pokémon World Championships in San Francisco and the release of **Mega Evolution – Pitch Black** are expected to be key highlights for the category. At the same time, we continue to diversify our portfolio through new distribution partnerships in select geographies, including the newly announced NARUTO CARD GAME TCG from Bandai and additional opportunities over time. That last distribution deal was announced on July 30, 2026, coinciding with the opening of Gen Con 2026, with a giant _Naruto_ banner draping the east entrance of the Indiana Convention Center. (Asmodee already distributes other Bandai titles, including One Piece Card Game, Dragon Ball Super Card Game,**__** Digimon Card Game, and Gundam Card Game.) Finally, as much as we in the United States might view asmodee as a dominating force on the game market, the U.S. contributes less than 10% of asmodee's sales: Note that the "net sales are based on the seller's location" line is a tad confusing. I believe that the "seller" in this circumstance is the branch of asmodee located in a particular region — Asmodee North America, Asmodee UK, Asmodee Deutschland, and so on — not the location of the studios creating the games, but I've asked for clarification. In either case, the company's sales in France are more than twice those in the U.S. (€91.4 million to €37.7 million). Asmodee also sells more in the United Kingdom (€65.6 million) and Germany (€56.6 million) than in the U.S., with the other European countries selling more than three times as much (€120.8 million). I'm not sure whether to conclude that asmodee still has vast growth potential in the United States or that the U.S. market is less relevant than I had previously thought. What's your opinion? ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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To every game there is a season — churn, churn, churn

Swapping Stories

On 24 July 2026, Paula Deming of Things Get Dicey! posted a video titled "Culling 100 Board Games?? Part 1": The thumbnail reads, "I cannot keep all these games", and by the end of the video Paula has set aside...fifteen games for culling. Thus, part 1. By chance, in mid-July 2026 I saw the following sign at my local library: Over the past couple of years, I've been shedding games 50-100 at a time every few months. I constantly think, "The next time we move, I don't want to move all of these games again", and here was another opportunity to lighten the load, both physically and mentally. I asked a librarian about how they planned to run the event, and she said, "We'll probably have a few tables available. Some people have already dropped off games, and we'll put them out then." That last sentence was a clue to what I should have expected at the event, but I overlooked it at the time. A week passed, then I finally got off my butt and started going through shelves to find games to swap. I figured that these games would probably be going to "regular" game players, not geeks, so I'd have more success getting rid of lighter games in terms of both weight and rules. You can probably imagine the games I have in mind — those that might sell for $3-5 at a convention flea market, but that you might also bring home again because they're not buzzworthy, big-box titles. To encourage more participation, since I doubted the library had done any social media outreach, I posted about the swap to folks on my game group mailing list, as well as to two Facebook groups: one for the neighborhood group that has 600+ members and one for the 2,500 members in the "NC Tabletop Game Exchange" group. I ended up pulling more than 150 items from my shelves and showed up fifteen minutes ahead of 2:00 so that I'd have time to claim a table and lay out everything...except there were no tables to claim. You weren't actually swapping games with other people, but just placing all of your games on tables, then stepping back and letting others have at it. I forgot to take a pic of what I was giving away, but here's a shot from mid-event: The library's "game swap" method was a way better approach than what I had in mind. I thought we would be swapping game-for-game or one game for a stack, with us negotiating to ensure we each got a "fair" deal, but instead I simply let my games go, and that was that. The format eliminated any concern over whether I would feel ripped off by someone making a lowball offer as the price of everything was automatically $0. If you want to participate, drop your games on the table; if not, take them back home with you...but you were already thinking that you would not be coming home with these _particular_ games, so why not give them away? After all, you didn't care about them enough to keep them. Amazingly, someone (or two someones) dropped off copies of Feudum and Cerebria: The Inside World, two games that I never would have expected to see given away like this, but if you don't want to keep something, it's sometimes worth nothing to you no matter what the value might be for others. Other nice games came and went as well, such as David Conklin's Blazon, which he had placed on the table himself, along with other titles. That's one way to get rid of author's copies! The tables weren't empty by 3:30, and one of the librarians I spoke with said that they would encourage other branches to host a game swap of their own and offer all the leftover games as a starter kit of sorts. Here's what I came home with: * A first edition Black Spy, Alan R. Moon's first published game. * Vintage, a Bruno Faidutti design that had sounded interesting in 2020, but which I had never seen in person, probably due to the lack of conventions for most of that year. * Lair, one of a dozen mystery/escape room-stye games from The Deadbolt Mystery Society that someone had donated. Swapping 150+ games for three is an improvement for my future self, and if I don't play these titles — or even if I do — they'll likely be out the door in a few years. My advice from this experience is two-fold: * If you have a library nearby, approach them about hosting a game swap, then help them publicize the event. In addition to getting rid of games, I wanted to help spread awareness of modern games to others — and this event made that happen. I saw people drop off Qwirkle, CATAN, and dozens of far more mainstream games, then take home titles they had never previously heard of. (I also handed out a few business cards, so if you're reading this post after meeting me at that event, hi! Hope you found something fun!) * If you're looking to cull games, you need to be far more aggressive than Paula was in her video. Sometimes the choices are easy. If you actively dislike a game, dump it, right? But if you've picked up a game a few times over the months (or years) and said, "I really want to play this someday", then put it back down, you probably don't really want to play it. My approach to getting rid of games aligns with my approach to sleeving cards in games: If I'm not sure whether I want to keep a game or get rid of it — that is, if I would place it on a "maybe" pile — I consider the cost of replacing that game. If the game was a mainstream U.S. or European release and I could likely find a copy for $20 or less, then I should get rid of it. Most likely, I'll never think about that game again, but for the rare game that does haunt me and make me wish that I could replay it, copies will be available at some point. I realize from comments on that sleeving article that not everyone is in the position I'm in, that is, surrounded by gamers with access to several conventions annually, but I thought I'd offer my perspective anyway. Everything is going to go at some point, so it's just a choice of when. Of course, I've got at least twenty years on Paula, so my "when" is likely sooner than hers, which means the weight of what I own might lie heavier on my mind. My extended family likes playing games, but they'd be fine with, say, six games, and I have a few more than six, which means I still have more culling to do... ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Want more?

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New releases and upcoming games from Dire Wolf and Devir; also, a cat!

Pics from Gen Con 2026 II

Construction on a new hotel to the east of the Indiana Convention Center (ICC) in Indianapolis — Signia by Hilton — is blocking roads, sidewalks, and pedestrian walkways, but current plans call for the project to be finished by the end of 2026, with this hotel adding 800 rooms to the supply available for future Gen Con events, along with all of the other conventions hosted by the ICC, not to mention concerts and sporting events in nearby Lucas Oil Stadium. The ICC is also being expanded with "new exhibit hall space, meeting rooms, and a new ballroom on the south side of the existing complex". Gen Con LLC media contact Stacia Kirby told me that the organization has not yet made plans for how to use the expanded space during Gen Con 2027 since it first has to get through this year's event, then ensure that construction will be complete before it divvies up the space. Here's the requisite image of the crowd waiting for the exhibit hall to be opened on Thursday morning, the first day of Gen Con 2026. (Not pictured: thousands of other people elsewhere in the ICC.) On display at Gen Con 2026 In one of the display cases in the ICC walking area, publisher Dire Wolf displayed some of the components included in Paul Dennen's Dune: Imperium – Conspiracy expansion. Dire Wolf also displayed material for two other IP-based games: Invincible: The Hero-Building Game — Season 2, which debuted at Gen Con 2026, and War of the Dragon: The Wheel of Time, which was crowdfunded for more than US$1 million in June 2026 and which is scheduled to reach backers in mid-2027. Making opportunities for play at Gen Con 2026 During one of my write-ups from Gen Con 2023, I expressed bafflement that game companies would not take advantage of long lines of people waiting to purchase Disney Lorcana by providing those waiting with an opportunity to play games...and learn about new designs available for purchase at the show. On Wednesday, 29 July at Gen Con 2026, I got to see my wish fulfilled, with a Czech Games Edition representative showing off the newly available Codenames: Critical Role Adventures to those waiting to pick up their badges. The "Wanna play?" banner rising above the person's backpack is a nice touch as that's what first caught my eye while walking the hall. Only after reviewing this image later did I spot the asmodee rep bearing the cigarette girl-style tray, so I'm not sure what they were demoing to folks in line, if anything. At SPIEL Essen 25, I got an overview of Devir's line-up for 2026, but with more than a dozen titles on the Devir schedule, each individual game had to share the spotlight with others. That's no longer the case at Gen Con 2026 as only SPIEL Essen 26 lies ahead, so now Dani Garcia's Gaudí sprawls over an entire shelf instead of having only one-third of that space. Here's the publisher's pitch: > Antoni Gaudí was a visionary Catalan architect born in 1852 who was renowned for his imaginative and distinctive style that blended Gothic and Art Nouveau influences. Players will travel through Gaudí's life and work, earning points in the three pillars that shaped his works: Nature, Catalonia, and Religion. To succeed, players must keep their progress balanced as only their two lowest scores among the three pillars will count toward final scoring. > Players gain points by playing cards and placing "Trencadís" tiles on their personal boards. "Trencadís" is a Catalan word that means "a lot of little broken things". While playing, you’ll discover some of these intricate details depicted on the cards and experience the creative joy of arranging your own trencadís patterns on your personal board. > The game unfolds over three rounds. In each round, players take turns moving around the central chandelier on the main board, drawing cards, and collecting various types of Trencadís tiles. These resources are used to play cards and progress up the pillars on their personal boards. Each pillar awards points differently: Nature points are mainly earned through cards, Catalonia points are mostly scored at the end of each round, and Religion points are primarily tallied at the end of the game. Shugendo**_,_** a co-design by Alessandro Cuneo and Simone Luciani, is the latest title in Devir's "Kemushi Saga" line of games. The game features press-your-luck elements from in which you play cards to build a community with farms, wells, and other elements while trying to avoid seeing too many yōkai. David Bernal's Níjar is from Spanish publisher Perro Loko Games, which attracted a lot of attention in 2025 for Orloj, and Devir distributes this publisher's games on a wider market. Here's a summary of this 1-4 player game: Bathed by the crystal-clear waters of Cabo de Gata and under the white light of Andalusia stands Níjar, a small town in the province of Almería, Spain, with a pottery tradition dating back to the Bronze Age that gained great significance during the Muslim period (10th–15th centuries). In _Níjar_ , we travel back to the 1920s, when the local economy revolved around ceramics, esparto weaving, and the making of jarapas — that is, colorful textiles that remain a symbol of the region today. Over three rounds, you will extract clay, throw pots, fire them, paint them, and sell your creations at market. I paid a visit to the BoardGameGeek "Hot Games Room" to snap a pic of the 700+(!) games that publishers donated to the library available to attendees during this four-day event. Many publishers submitted four or five copies of a game, which seems like a lot — yet Flamecraft topped the checkout stats during one BGG.CON primarily because so many copies were on hand to be checked out, so maybe publishers feel the expense is worth it. (All games shown here will be in the "new games" section of the BGG library during BGG.CON 2026.) The trip from my hotel to the ICC featured _many_ billboards featuring GLP-1 products, which seemed odd...then I remembered that the pharmaceutical business Eli Lilly and Company is headquartered in Indianapolis, so I imagine it wants to tout its wares to emphasize its importance in the local economy — and to find customers, of course. To follow up on my July 30 post about Gen Con 2026, when I exited my hotel in the morning, I got to meet the cat who uses the bowls I saw the previous day. No name tag, but she was a friendly girl. ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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Cephalofair Games gives a first look at a "Gloomhaven drafting game"

Mercenaries Wanted at Gen Con 2026

My first meeting at Gen Con 2026 was with Price Johnson, CEO of Cephalofair Games, who wanted to show off Mercenaries Wanted, a drafting game designed by Dennis Vögele, who was one of the developers of Frosthaven and who worked on the design of the second edition of Gloomhaven. _Mercenaries Wanted_ features 61 mercenaries from the company's -_haven_ game line, with you hiring these mercenaries to complete jobs for you before the chosen members of your group compete in tournaments at game's end. Your overall goal: End up with the most money. In each of three rounds, you start by drafting four mercenaries, after which you ditch one. Who are you going to draft? People who will excel at one of the available jobs, such as these: Mock-up cards in __Mercenaries Wanted__ If you choose to take on the "Siege Assault" job, you'll earn 3 coins per mercenary with an attack value of at least 5, while "Join the Traveling Circus" requires one merc with attack or shield of at least 3 and a second merc with move or heal of at least 3. You can also earn coins from the two secondary aspects of the job, such as 2 coins per light element on your mercenaries or 1 per different tag among your entire crew. Here's one of my line-ups from the sample game we played: Mock-up mercenaries from __Mercenaries Wanted__ Mercenaries have special abilities, so you're trying to draft for a particular job or two in order to maximize how much you can earn. (I didn't do a good job here, but learning games at conventions are for learning, not for playing well, so I try to choose quickly.) Once you have your team, players take turns choosing jobs. In the first round, whoever has the total move on their team chooses first; in the next two rounds, you choose in order based on who has the worst score. Those "Wild Blades" should not be on the "Volrath Red Guard"; again, I play fast and make mistakes. You can choose the same job as another player, but you'll subtract 1 coin from your total. With the crew above, I made 10 coins by joining the traveling circus: 2 from the main requirement, 2 from a pair of mercs with element symbols, and 6 from a half-dozen tags. To end the first round, you place one merc in the "Challengers" section of your game board, keep one among your "Trainees", then discard the rest. You also receive three items, then choose one that you can use next round. After round two, you'll keep two "Trainees" and save another merc in "Challengers", and after round three, two more mercs join the "Challengers" pile, after which you see well this team fares in the tournaments, such as these three in our game: Mock-up tournament cards For the "Grand Festival", you want more element symbols on your challengers than anyone else (or at least the second most symbols), while "Sewer Cleanup" counts Control and Duelist tags and "Helper Hand" rewards the two teams with the most total heal. (In a solo game, you score coins depending on whether you meet the number listed in parentheses.) _Mercenaries Wanted_ is for 1-6 players aged 14 and up, with a playing time of 45 minutes and a US$25 MSRP. Pre-orders will open in September 2026, with a release date of December 4, 2026. • • • • • • • • • • • • • • __White-box samples of the Gloomhaven and Frosthaven miniatures__ Price Johnson also showed the current state of the _Gloomhaven_ and _Frosthaven_ miniatures that were crowdfunded in 2023. These white-box samples, which collectively occupy 1.5 Kallax shelves, show how the figures will look inside the boxes, with the outer packaging still to be completed ahead of the estimated release date of Q1 2027. • • • • • • • • • • • • • • Cephalofair also displayed various elements from the **_Gloomhaven RPG_** Deluxe Box, along with the RPG book itself, of which I did not take a photo. • • • • • • • • • • • • • • Price Johnson, CEO of Cephalofair Games Finally, here is Cephalofair Games CEO Price Johnson, who kept interrupting his description of _Mercenaries Wanted_ to relay little stories about the performance of this character or that in various games he's played. He was clearly excited about these characters moving out of the fixed -_haven_ environments and having players interact with them in new situations that suggest their ability to inhabit a larger world beyond what already exists. ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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Gen Con 2026 brings revelations about Restoration's plans

Unmatched Plans from Restoration Games

On Thursday, July 30 at Gen Con 2026, U.S. publisher Restoration Games held a "Blueprints" event in which it revealed the status of current projects, including updates for some titles announced during its Gen Con 2025 Blueprints presentation. _[Disclosure: Restoration Games is an advertiser on Board Game Beat.]_ The biggest reveal was **_Unmatched: Slay the Spire_** , with the only info revealed about this IP-related Unmatched set being its four heroes: The Ironclad, The Silent, The Watcher, and The Defect. Beyond that and the teaser image above, Restoration invites you to sign up for future details. Restoration announced two other Unmatched sets, with the 2027 release Unmatched: Once Upon a Time — which features the Big Bad Wolf, Mulan, Snow White, and Pinocchio — intended to be a good starting point for those just discovering the game line and looking for an ideal entry point. Unmatched Adventures: A Study in Terror, also due out in 2027, is the third co-operative title in the _Unmatched_ line, and as with 2023's Tales to Amaze and 2025's Teenage Mutant Ninja Turtles, _A Study in Terror_ will feature four new heroes who can face off against one of the two new villains included in the box or face off against one another or any other _Unmatched_ hero. The last news for this line relates to **_Unmatched: Digital Edition_** , with Dire Wolf having launched a beta version on Steam on 29 July 2026. This 21 July 2026 blog post from Dire Wolf details what's new with this edition of the game, how previously purchased items in the old edition will carry over into this new edition, and what's coming in the future. In updates for its 2025 Blueprints report, Restoration showed off a pre-production copy of Return to Dark Tower: Expeditions, which was crowdfunded in October 2025; noted that the Titan figures and dice in Battle Monsters: Godzilla vs. King Ghidorah are still being tooled; and said that the Thunder Road: Vendetta – Interstate of Decay campaign game from Jerry Hawthorne, Dave Chalker, and Brett Myers is still being worked on. Finally, Restoration Games turns ten in 2027 and plans to release tenth anniversary editions of two of its earliest titles: Downforce from designers Rob Daviau, Justin D. Jacobson, and Wolfgang Kramer, and Stop Thief! from Daviau, Jacobson, and Robert Doyle. It's amazing to think that these titles each originated more than 45 years ago and are still finding new players! Every game deserves another turn indeed... ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up for more!

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Bitewing Games announces five new titles: Matchbox, Escar-GO!, Downtown, Party House, and Baba Is You: The Board Game

Bitewing Is Win? Consult Baba to Find Out

On Friday, July 31, Bitewing Games was one of several publishers participating in a "Mega Announcement Showcase" event in which they revealed upcoming games, with Bitewing releasing introductory details about five titles. **_Baba Is You: The Board Game_** is a tabletop adaptation of the Baba Is You puzzly video game created by Arvi Teikari, who goes by Hempuli, and the board game has been created by Hempuli and Peter C. Hayward. The video game has more than two hundred levels in which a single player tries to overcome various challenges by creating and breaking rules. "Baba Is You" is one of those rules, with you embodying a strange white creature named Baba. You walk around the environment and can push words to change the rules of play. Push the word "Rock" in front of "Is You", and you immediately become the rock! Mock-up of __Baba Is You: The Board Game__ Unlike the video game,_Baba Is You: The Board Game_ is for two players, with one being Baba and the other Keke. You know which creature you inhabit by the "Keke is YOU" rule that points at you. The game features scenarios that comprise two or more video game levels, with players changing the rules until ideally whatever thing is YOU moves onto whatever thing is WIN (or vice versa). Other words featured in the game are STRONG, SCARED, and MELT, with the game featuring 35 levels in seven worlds. You can play a one-hour game through any five-level world (with whoever wins three scenarios winning the game), or you can take on the full seven-world campaign against a single opponent. The scenario loser decides which level stays in the game to be combined with a new level Once you've played through the worlds, you can also combine levels to create new scenarios. Bitewing Games will launch a crowdfunding campaign on September 15, 2026 f0r _Baba Is You: The Board Game_ , as well as for **_Party House: The Deckbuilding Game_** , a 1-4 player game by Jon Perry that is also based on a video game by Joy Perry: **_Party House_** , which is one of the designs in UFO 50, a collection of fifty solitaire and multiplayer games. Art by Daniel Profiri _Party House: The Deckbuilding Game_ is a press-your-luck design in which you want to throw a rager and attract all sorts of VIPs to your party before the police bust up your party. Guests will arrive at your house offering money (which you get to keep no matter how long guests stick around) and popularity (which stays with you only if you don't get busted). Each character also has 0-3 trouble — and 8 trouble in one location spells the end of the night for you! If you don't bust, you can spend money and popularity on new guests, such as "a monkey who increases your popularity but also increases your trouble, a driver who can fetch another guest for you, a hippie who calms down a troublemaker, a bartender who makes you more money, and a security guard who kicks somebody out for you". Guests can help you grab objective cards that grant VIP points, but ideally you can lure long-term VIP guests to your house: an alien, a ghost, a genie, a mermaid, and more. • • • • • • • • • • • • • • Bitewing Games will then run another crowdfunding campaign in Q4 2026 for its other three titles, including Reiner Knizia's **_Escar-GO!_** , which is a new edition of his press-your-luck dice game Exxtra, a.k.a. _Excape_. Art by Thomas Wellmann You want to reach the end of the racetrack first, but sometimes you'll find yourself moving in the wrong direction. On a turn, you roll your two dice as many times as you wish to create a two-digit number — but if you get an X from your second roll on, you bust and move backward. If you stop before busting, you place your dice on an empty space of the movement ladder, and if your number is higher than any dice above you on the ladder, you bump them off! If no one bumps you off before your turn comes around again, you move your snail as many spaces as the number on your ladder rung, so do you want to play it safe or take a chance on moving quickly should you hang on? _Escar-GO!_ features a double-sided ladder (0-5 and 0-6), as well as a double-sided track with 0-20 on one side and 0-30 on the other; the longer track features a few special spaces that trigger if you land on them, such as Double, which moves you again; Ketchup, which moves everyone behind you three spaces; and Catch 22, a hurdle that can bump you back to 22. Each player also has two one-shot tokens they can spend to ignore a bust to allow the snails a reprieve from sliding back. Art by Ian O'Toole **_Downtown_** is a city-building game for 2-4 players from Robert Hovakimyan in which players will focus on building in one zone at a time, with you trying to connect tiles across multiple zones so that you can earn more on a turn. Each turn, you draw tiles from a personal bag, return some of them to the bag, place others on the game board, then replenish your bag so that it always has the same number of tiles. In the publisher's words: "Players' bags will begin to diverge as they place and replenish unique tiles. Your strategy will evolve and pivot as you play across different zones of the city, and you'll have to adapt to the tiles that enter your hand and the tiles that others play to the board, so the bag building is less about constructing an engine and more about steering your strategy." During the game, you gain benefits from placing next to certain locations, compete for majorities, and decide each turn whether to take your income as money or points. The latter helps you win, of course, but without money you won't be able to do much each round. Art by Andrew Kolb and Alexandra Preda In the Alex Cutler and Peter C. Hayward co-operative game **_Matchbox_** , 2-10 players split into two teams to try to identify their own words...which seems like an odd concept, but here's how it works: > During the first phase of a round, you place your team's hand of cards — with each card featuring one of 200+ objects — into the card stands in the middle of the table. The other team simultaneously places their hand of cards into the same stands, but their cards will face them and your cards will face you. Cover the cards with matchboxes, rearrange them, flip them toward the other team, then unveil them. Now you have to find and recall your team's cards using the other team's cards as your guide! > How is this possible? Well, before you place each card (in the first phase) or recall each card (in the second phase), you flip an adjective card that says something like: smelly, expensive, solid, etc. Then you have to discuss together and select the noun that best fits the adjective (either from your hand in the first phase or from the other team's cards in the second phase) — and hopefully both teams are on the same wavelength, or you're already at risk of losing a life! > In the second phase, once you have decided on which card you think the other team selected, you point at it (without saying its name), then you have to say the name of the card **that the other team is looking at —** that is, the card that your team originally chose from your hand in the first phase for the same adjective. If you point to the wrong card or recall the wrong card, then the table loses a life! After all cards have been found and recalled, the round ends, and to win the game you must complete three rounds of increasing difficulty. I imagine a video demo of this design would make the concept much clearer... ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Want more?

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U.S. publisher Allplay will re-release this classic Chad Jensen design

Dominant Species Find a New Life

On Friday, July 31, allplay was one of several publishers participating in a "Mega Announcement Showcase" event in which they revealed upcoming games, with the dominant (wink wink) news from this publisher being a new edition of Chad Jensen's 2010 game Dominant Species as part of a new "Masterworks" game line that focuses on heavyweight Eurogames. Artist Ian O'Toole will be a key partner in the art, graphic design, curation, and development of this project. Allplay also announced two other new game lines, with the "Epics" focusing on large-scale adventure games. The debut title in this line will be Tailor Reiner's Sail Legacy, which was crowdfunded in July 2025 and which a May 2026 crowdfunding update described as "a larger game than any we've done before". The second "Epics" title will be Crash Landed, which Allplay describes as "an ambitious new game [that] tasks players with surviving on a strange planet". This title will be released in 2027. The third new Allplay game line is "Creations", which will feature "games for fandoms, sometimes working with IP partners". The debut title in this line will be John D. Clair and Robert Hovakimyan's **_Have a Magical Day_** , which "taps into the amusement park crowd, with players riding the best rides, meeting characters, and eating unique food". Art by Eric Hibbeler In regard to these game lines, Joe Wiggins, COO of Allplay, says: > We've always made games with constraints — on principle. We're proud of what we've been able to make with these constraints. The consistent box sizes, accessible price points, and simpler rulesets are great for families and gamers who want strategy without rules overhead. > Those core products aren't going away, but now that we're eight years into publishing games, we're ready to show what else we can do. Games will continue to appear in the three box sizes that constitute "core" Allplay designs, including **_Through the Mountains_** , a sequel to Reiner Knizia's Through the Desert, which Allplay released in a new edition in 2024. Art by Hien Le and Damien Mammoliti _Through the Mountains_ will be featured in a crowdfunding campaign in October 2026, with _Dominant Species_ , _Crash Landed_ , and Have a Magical Day scheduled for crowdfunding in 2027. Front covers of __Sail Legacy__ and __Through the Desert__ , which are not actually the same size ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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A sampling of images from appointments, media events, and life

Pics from Gen Con 2026

I spent a few hours in and around the Indiana Convention Center (ICC) the day before Gen Con 2026 opens, and I thought I'd share a few pics, keeping my commentary short so that I won't look like a red-eyed demon for my appointments on Thursday. Mock-up components in the __Whisperstone__ RPG I wrote about the **_Whisperstone_** RPG after getting a glimpse of it at Gen Con 2025, and now publisher Flatout Games is showing a more robust version of this puzzle-based RPG at Gen Con 2026 during a media event. Nicholas Trahan originated this design and has been working on it since 2022, with the design team also including Molly Johnson, Lucile Leca, Sen-Foong Lim, Dylan Mangini, Robert Melvin, Andromeda Pendragon, Aaron Russin, Shawn Stankewich, Emily Vincent, and Rhi Wynter. _Whisperstone_ is designed to be an RPG for those who are RPG-curious but don't have experienced game masters to introduce them to game systems. As you explore a point-and-click-style map, the adventure master will read sections of the story and present you with challenges that are part of an overall story. You might pick up items, coins, and more, placing those items in the cardboard frame that represents your backpack. If an item doesn't fit, you can't carry it! Mock-up box and components for __Whisperstone__ — so many bits! You also have a basic character at the beginning of play, and you can jigsaw clothing, weapons, and more onto your character. If it fits, it sits...so to speak. As you adjust your character, you can gain dice to help your attempts to use magic and other skills. The mock-up box above is likely to be larger than the finished product, but it will fit hundreds of cardboard components and jigsaw pieces in it that flesh out the adventure. Additional adventures will be available for the system, with Flatout currently expecting to crowdfund _Whisperstone_ in early 2027 ahead of a late 2027 release. A mock-up of __Perennial__ at Gen Con 2026 Another future Flatout Games release is Emily Vincent's Perennial, which is a puzzle-style game you'd expect to see from this design studio. In a round, you're going to draft one of the four tools from the shared board, then remove five tiles from the market in the shape of that tool, with at least one of those tiles being on the grid edge adjacent to the tool. Refill the grid and put out a new tool, with each player taking two tools and ten tiles. You'll then assemble those ten tiles in the shape of those two tools, then fit them into your garden. Sometimes you want large groups of flowers, sometimes a variety of flowers adjacent to a greenhouse. Animal tiles score for flowers in rows, columns, and surrounding tiles of the appropriate type. By covering seeds, you can then spend them for bonuses, such as extra tiles or the removal of rocks to make room for future planting. Flatout plans to crowdfund _Perennial_ in September 2026 for an anticipated Gen Con 2027 debut. In a display case outside the exhibit hall, Restoration Games showed mock-up components for The Lord of the Rings: The King's Gambit, which it plans to crowdfund in 2026 for release in 2027. _[Disclosure: Restoration Games advertises on Board Game Beat.]_ That is a massive spread across two shelves that are more than two feet long, a foot deep, and a foot tall. Ideally the publisher has a more representative layout in its booth. We'll see... In another display case, Incredible Dream Studios showed off elements of its new edition of Mechs vs. Minions, as well as its Bandle City Edition of the game that features the same gameplay, but "reimagined for a new generation of players", in the words of Incredible Dream's Jane Hoffacker. _[Disclosure: Incredible Dream has also advertised on Board Game Beat.]_ Sick of the new games being shown at Gen Con 2026? On Friday, July 31, allplay, Bitewing Games, Cardboard Alchemy, Druid City Games, and other alphabetically organized publishers will participate in a "Mega Announcement Showcase" event in which they'll reveal upcoming games. Builders were already at work in Cardhalla on Wednesday night, laying the groundwork for four more days of construction. The food court on the east side of the ICC featured a vending machine filled with two dozen decks of Bicycle-brand cards, along with a few card games. I don't recall seeing one of these at a previous Gen Con, but an even more appropriate place for such a machine might be, say, Hartsfield-Jackson Atlanta International Airport so that delayed passengers can find something to do with their time...not that I'm speaking from personal experience or anything. My hotel has food, water, and cat toys outside the front door. Alas, I spotted no cats while walking around the building. ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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Going to Gen Con 2026? Here are three happenings to look for.

Tag Team Partners with SNK; Guillotine Collects More Heads

Ahead of the Gen Con 2026 debut of Tag Team: Arthur's Legacy, Canadian publisher Scorpion Masqué has revealed the next title in the series: Tag Team: SNK Arcade Legends. _Tag Team: Arthur's Legacy_ is the standalone sequel to Gricha German and Corentin Lebrat's two-player fighting game Tag Team, which I previewed ahead of Gen Con 2025. In that game, each player has a pair of fighters, with each fighter being represented by a character card and a deck of ten cards — but initially you have a "deck" consisting of only each character's starting card. You arrange these cards in the order you want, then flip them one at a time along with the opponent to attack, block their attacks, build your power, and take special actions. After going through the deck, you look at three random cards from what remains, then add one somewhere in your deck. You never re-arrange cards in your deck, so you can try to set up actions to counter your opponent's deck, but they're adding a card as well, of course. _Tag Team_ featured twelve novel characters, whereas _Tag Team: Arthur's Legacy_ — which is co-designed by the original team, along with Florian Sirieix and Benoit Turpin — features six characters from Arthurian legend. I previewed the set in November 2025 after getting a peek at SPIEL Essen 25. Christian Kudahl is the lead designer of Tag Team: SNK Arcade Legends, which will also be a six-character standalone set, with the first character revealed being Terry Bogard from SNK's Fatal Fury video game series. The other five characters, which come from SNK's The King of Fighters, Samurai Shodown, and _Fatal Fury_ , will be revealed one per month through December 2026, with the set scheduled for release in Q2 2027. Scorpion Masqué is running events at Gen Con 2026 that will give people a chance to test the upcoming unrevealed characters...without knowing who they are. Maybe you can guess their identities via gameplay — or the silhouettes on the mock-up box below. Work-in-progress material from __Tag Team: SNK Legends__ A seventh character, Iori Yagami, is available as an exclusive pre-order promo, which will undoubtedly annoy many people both now and later, but my advice for such things is to pretend they don't exist. A publisher such as, say, Hans im Glück could spin out three dozen new promo tiles for _Carcassonne_ and release them at various events all over the world and you could chase them down for months on eBay and other forums only to discover later that HiG had actually released _37_ new promo tiles, not 36, and now you're kicking yourself for missing out, which leads to frantic posts on BGG for a trading partner only to then discover HiG released _38_ promo tiles, not 37, and the cycle continues, with you constantly updating spreadsheets to record your search efforts. Or you ignore it all, and if a bonus thing ends up in your hands, cool, and if not, well, you have the game itself, which probably contains the best material anyway since it's unlikely a publisher would save ideal designs for one-off sales instead of putting that effort into selling as many of an ongoing product as possible. • • • • • • • • • • • • • • Afraid you're going to lose something? Notwithstanding all that I said above, Avalon Hill will have "event exclusive" giveaways in Hall E at Gen Con 2026, and should you care to learn more, here's the list of what's on hand, with a minimum of one hundred of each giveaway each day of the show: * HeroQuest: Wizards of Morcar — quest furniture pieces * Sanibel — wooden tokens * Market Fresh — alternate farmer character part sheets that feature animal farmers instead of human farmers * Guillotine — four cards featuring British nobles * Talisman: Crown of Blood — toad figures * Fury of Dracula — upgrade part sheet for the quick play variant and Dracula-emblem stamped train tickets A marketing rep for Avalon Hill tells me that these items will also be available at SPIEL Essen 26, with "a limited number of Wizard Play Network hobby stores who sign up to host game nights within a certain window" receiving items to give away to attendees. • • • • • • • • • • • • • • In Hall C, Avalon Hill parent company Hasbro will give away 250 games each day, with those games being: * Thursday — SERVD * Friday — That's Mine! * Saturday — Monopoly Deal: No Mercy * Sunday — Monopoly Deal Get ready to say... ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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You'll be blue if you eschew this new crew review. Also, corkscrew.

Talking about The Crew: Journey to the Ends of the Earth

Designer Thomas Sing had a few games published in the early-to-mid 2010s, but most gamers became aware of him in 2019 when German publisher KOSMOS released The Crew: The Quest for Planet Nine. ## Suiting Up for a Journey Crew 1 — to use Sing's shorthand for the game series in a designer diary about Crew 3 — is a co-operative trick-taking game in which players undergo missions that typically challenge them to collect randomly determined cards, e.g. I need to capture the blue 2, while you need to capture the yellow 9. If I have lots of blue cards in hand, that challenge will be easy for me; if you don't have trump cards to take the highest-valued yellow card, well, we'll try to figure out how to make that happen. As you progress through fifty missions, new challenges are added: This random card must be the first one collected; you cannot use a 9 to win a trick; no one can "communicate" a card in hand, with this communication being the sole way to share information about your hand; and so on. Players typically draft tasks within a mission, with you getting a personal goal that's simultaneously a group challenge since you can rarely achieve a task on your own. ## From Outer Space to Under Water I loved Crew 1 — here's my review from December 2019 — then was surprised to discover that I liked the sequel game, The Crew: Mission Deep Sea, a.k.a., Crew 2, even better. This 2021 release keeps the same trick-taking structure as Crew 1, with four _colored suits_ numbered 1-9 and four _trump_ cards numbered 1-4 (thus giving you five _types_ of cards), but now the tasks have their own unique deck, with each individual task having a difficulty rank on the backside. Missions have a difficulty value as well, with you revealing task cards until they add up to the mission value. Sometimes a mission will consist of one high-difficulty task, and sometimes you'll have a handful of simple tasks, with their interaction in that particular mission setting up a unique challenge. One big change in Crew 2 is that tasks are usually not about players taking particular cards from the deck. As I wrote in my September 2021 review: > [H]ere are the two cards we had in a four-player game for mission #7, which has a difficulty level of 6: In __Mission Deep Sea__ , submarines are the trump cards > These two tasks differ a lot from those in [Crew 1], and they are representative of many of the tasks in [Crew 2] in that they present the table with a challenge that plays out over the entire hand instead of being something that is mostly the concern of a single person. I was commander for this game, and my hand had only three cards that weren't yellow or green, so I took the "win a trick with all cards <7" task as I thought I'd be able to contribute better to the completion of the other task by voiding the non-green, non-yellow cards from my hand, then throwing in yellow or green as needed. > > The challenge of that "green=yellow" task, of course, comes from four players needing to void themselves in various suits — which will differ for each player — so that we can end up with 2 green/2 yellow OR 1 green/1 yellow/2 other stuff in a single trick _that is won by the player holding the task_. That's a lot of hoops! And along the way we need to ensure that I can win a trick that completes my task, so we need to play out high cards and submarines at the same time that we're trying to get the colors in the right arrangement. In general, the tasks in Crew 2 are more holistic than those in Crew 1. In the former game, you'd play until you collected certain cards, which sometimes took only a few tricks, then you'd bag the rest of the cards in your hand and move on to the next mission. Crew 2 often requires you to play out the entire hand before you can guarantee that, say, you won more yellow cards than blue cards or you won as many tricks as the commander, that is, the player who starts with the 4 trump. ## Tricking Our Way Across the World In** __** The Crew: Journey to the Ends of the Earth, which U.S. publisher Thames & Kosmos will debut at Gen Con 2026, Thomas Sing takes the holistic nature of tasks even further, with many of the tasks being not an individual challenge, but something the entire team must tackle. _[Disclosure: Thames & Kosmos is an advertiser on Board Game Beat and supplied a review copy of this game.]_ Here are a few of the 104 task cards in Crew 3, with these cards coming in three categories: The front side of four standard task cards......and the back sides of those same cards. **Standard tasks:** As in Crew 2, these tasks have a difficulty value on the back that varies depending on the player count, but unlike in Crew 2, no matter what's happening in Crew 3 (as least as far as I have seen), you will draw only one task for a round of play. When I read "only one task" in the rulebook, I was initially disappointed as the interaction created by random tasks in Crew 1 and (especially) in Crew 2 was one of the most delightful parts of gameplay. After all, the difficulty of winning the same number of green and yellow cards in a trick will depend on the other tasks in play. In practice, though, these single tasks have proved highly satisfying as they feel even more holistic than Crew 2 tasks. Imagine tackling the task demanding that "Each trick may contain at most two colors"? Everyone needs to pay attention to every card played in order for this to succeed. The same is true for "In each trick, the highest number must be at least 4 higher than the lowest number." You're not thinking only of one color or certain values, but all the cards in play. You don't necessarily have to track all played cards to complete a task, but doing so would improve your chances of success. Look at another standard task: "Starting with the guide [the player with the 4 trump], all crew members take turns announcing aloud which color they will not take any cards of. Each color may only be called once." Everyone is responsible for making this task happen, and success starts with choosing the right colors...but with the fourth player on the hook for whatever color they've been given. Ideally the previous three players have assessed their hands well! In the standard task above, I was the guide and had to secretly choose whether my left- or right-hand neighbor would have to win exactly three green cards, with the other neighbor being forbidden from winning exactly three green cards. The other three players had to intuit how they would approach this task, then based on my plays in each trick, figure out who should win what and how to make that happen. In Crew 3, you can communicate cards in hand the same as in earlier games: Place a non-trump card face up on the table, then place a communication token on it to indicate whether it's the highest card you hold in that color, the lowest one, or the only one. What's new in Crew 3 is that you use as many communication tokens as the number of players, and whenever you want to communicate, grab one and use it. You can grab them all if needed! **Secret tasks:** The difficulty value of these tasks is estimated at 3, but the actual value will depend on how well you do at them. (The secrets with ??? on the back are more variable than the others.) As with the standard tasks above, all players have a role in maximizing the value of secret tasks. The leftmost task, for example, says "+1 each trick that contains at least 1 blue card", so in a three- or four-player game you'll score 3-9 points since each hand has at least ten tricks in which to play out the nine blue cards. However, to that final score you will add the listed number at the top of the task card based on player count, which means in a three-player game you'll score 0-5 points. The second task is a one-shot challenge that can net you 2, 4, or 3 points should you succeed, and you'll have at most three shots to make it happen. Fail to collect 13 yellow even once, though, and you score nothing. The third and fourth tasks above highlight an aspect of some secret tasks: One mistake ends the round. In the third task, for example, if the players are in order A-B-C-D and B wins the first trick, then C must win the second, D the third, and so on. If the wrong person wins, stop playing. The fourth task above is an individual task, and that gives you an out sometimes. One player will have this task, and if someone else wins a trick without exactly two cards lower than 5, then you're still playing — and often you'll want to step in to keep the taskmaster from winning a trick that will hurt the team. **Individual tasks:** These tasks work a bit differently than the others. For an individual task, each player simultaneously reveals a communication token. If they think they can do the task, they show the green side; otherwise, they show red. If only one player shows green, great — they've got the job! If multiple players show green, the guide chooses one of them with no other information. And if everyone shows red, then you take back the token and do the reveal again. Surely if everyone thinks their hand sucks, one more player will now think their hand sucks less than the others? But while one player is charged with the task, once again all players must step up to, say, help that one player win a trick three times, then keep them from winning again when they lead the next trick. The rest of the team must watch the task holder and play to enable them to make the moves they need to win a mystery card or an unknown number of yellow cards. So far, I've played 58 rounds (i.e., hands) of Crew 3, which coincidentally matches how many times I had played Crew 1 when I reviewed it. Those rounds have taken place over three sessions with three or four players, with each session lasting 3-4 hours. I kept saying, "You guys want to play another hand?" and everyone kept saying, "Absolutely!" ## Stepping on Stage The first two stages of the logbook for __The Crew: Journey to the Ends of the Earth__ The structure of the rounds in Crew 3 differs from those in Crew 1 and 2. In those games, you are presented with a mission, then you reveal tasks, and if you complete those tasks, you advance to the next mission. If not, you repeat the mission. Crew 3 is presented to players as a quest — a journey to the ends of the earth, one might say — and this quest consists of 25 stages, with each stage being printed on a page in a logbook. For most stages, you place a crew marker at one end of a path and a time marker on an indicated space. Each round, you advance the time marker one space, while advancing the crew marker a number of spaces equal to the task's difficulty...but only if you succeed. Your goal is to reach the plane in the hexagon before time runs out. The tasks are split into two stacks, and each round you choose one of the top tasks based on the back of the cards. You know the point values of these tasks (maybe), but not what you're trying to do. Twice during a stage, you can discard a task, which keeps you from getting stuck with a 1-value task when you need a 3 or vice versa. Instead of simply trying to get through all of the missions, in Crew 3 you're trying to complete each stage as quickly as possible, scoring points based on the distance between the crew and time markers at the end of the stage. If they both hit the plane the same round, 0 points for you; if the crew marker gets their first, you score negative points equal to the distance between the markers; if the time marker "wins", you score positive points equal to the number of tasks needed to reach the plane. Your final score is the sum of points earned in stages 2-25, with stage 1 being the introductory learning stage. I've talked with others who have played Crew 3, and they find the score a drawback as they just want to work through missions, viewing that progress as their "score". In our group, we've ignored the score and just cheered or booed when we reach the end of a stage. What's more, we ignore the directive to skip a task we've failed and draw a new task, instead choosing to tackle a task repeatedly until we complete it. Are we still playing the same game? Does it matter? The joy that we've found in the game is confronting a constant flow of challenging tasks and figuring out how to defeat them. If we play two pink cards consecutively in a trick and fail a task that tells us not to do that, then we're going to shuffle the cards and try again. (That task took us four attempts!) For us, satisfaction comes not from a score, but from success, from solving the problem presented — and sometimes you need a few practice rounds to get there. ## Around the World in 80 Bicycles One other aspect of stages is that each non-train space your crew marker is on introduces a twist to task selection, communication, scoring, or cardplay. If you're traveling by foot — that is, your crew marker is standing on boots — you must choose the task with the lower value. If you're on bicycles, you can't communicate as long as you have one of the six bicycle cards in hand. (Six color cards have a bicycle icon near their number. Other colored cards have a scooter, a machete, or skis.) Stages 5 and 6 of the logbook for __The Crew: Journey to the Ends of the Earth__ Aside from the bicycles, other stages affect communication in an interesting way. If you're in fog — which features the pink boat — you deal only the listed number of cards to each player, with everyone drawing a new card after each trick. The helicopter stage has you pass one card left after any trick with a helicopter — that is, a trump card. You might have previously communicated that you had only one blue card, then you played it to void that suit and throw off...only to find new blue cards showing up in your hand. These twists are overlaid on whatever your current task is, with the main challenge being that we sometimes forgot the twist until we're shuffling the cards at the end of the round: "Oh, we forgot about the helicopter pass. Ah, well, let's move on." Some stages present unique tasks, as with Pompeii above. You don't draw a task card, but instead do the presented tasks in the order depicted. That said, I initially missed the rulebook pages on special stages, so we mistakenly tackled all three of these tasks at once. For each of these tasks, you create a 3x3 grid with a particular card from the trick, building the grid in a spiraling order: * In the first task, you place the first card played in each trick into the grid, trying not to place card types adjacent to one another. * The second task has you place the second card in each trick, not placing the same numbers adjacently. * The third task has you place each trick's final card, and you can use each of the five card types at most twice. Amazingly, in a four-player game, we managed to complete all three tasks at once on our second attempt! On the left, no card type is adjacent to itself; at top, no number is adjacent to itself; and on the right, no type is used more than twice. Huzzah! We were probably prouder of this accomplishment than any other...even though (or perhaps because) we had made the task(s) immensely more difficult by smashing them together. I guess we're treating Crew 3 as a sandbox of sorts by ditching the stage score, repeating tasks, and not worrying too much about stage space restrictions. No matter — we've been having a blast! Again, for me the brilliance of the design is the strength of the tasks. You can look at each one in the abstract and think, okay, I understand this challenge...then you receive your hand of cards and that abstractness needs to solidify into a plan, but without saying a word about what that plan is, speaking solely through a few communication tokens and cardplay, yet somehow this card conversation flows around the table, creating a story with twists and turns when the cards aren't where you need them to be. ## Travel Advice Unfortunately, Crew 3 repeats one problem seen in earlier Crew releases: The cards in the main deck are relatively thin, smooth cardstock, so after the first play session of 18 hands, the cards were already getting gummy from the oils in players' hands. Thus, I sleeved the cards ahead of the next play sessions to keep them from getting worse. (I prefer unsleeved cards for their feel and shuffleability, but not handling gummy cards is of higher priority here.) This cardstock feels the same as what was used in Crew 1. As I wrote in my review of that game, "The game was produced with a price point of €13, and the cards suffer as a result of that, with mine getting gummy after only a couple dozen plays." History repeats! Thames & Kosmos has a US$15 MSRP on Crew 3, but given that the core of this game involves shuffling a forty-card deck over and over again, I wish the company had bumped up the card stock to one that would endure hundreds of shuffles before wear, similar to cards found in German releases by NSV, as a US$20 MSRP would not be out of line with the market. The other main issue with Crew 3 is that the rulebook and the task cards could have used another pass or two by an editor — along with dozens or hundreds of blind playtests — to ensure that everything would be clear to the game's players. You can kind of muddle along when writing the rulebook as you have room to rephrase what you're saying and include an example or two, but the tasks stand alone, and all too often we would have to read a task card a few times before the challenge was clear. One example of this is the rightmost standard task above. The first sentence in that task — "The two crew members to the left and right of the guide may not win a card of the same chosen color" — is baffling because I feel like I should know what "the same chosen color" means, but that phrase is explained only in the next sentence. I would have instead written the task as follows: "Without discussion, the crew member to the left of the guide chooses a color before the first trick. The two crew members to the left and right of the guide may not win a card of this color." We read one task four or five times, yet still couldn't figure out what was intended, so we threw it in the box and moved on, which is disappointing given that the tasks are what drive player activity, what motivates your actions, so you want them to be absorbed as easily as possible. Boiling the game down to its essentials, you have a deck of forty cards and a pile of 104 tasks — and both of those elements could have been presented in a more appealing manner. ****Like this kind of coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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Reflecting on past moves, while thinking about what comes next

Board Game Beat Is Six Months Old

Six months ago today, I said goodbye to BoardGameGeek after fifteen years and officially launched Board Game Beat, an independent publication devoted to the craft, culture, and business of tabletop games. At that time, I knew what I wanted to publish: game announcements and industry news, previews and reviews, convention reports, interviews, essays, videos, and other explorations of how games are designed, published, played, and experienced. I also knew what I did _not_ want to create: an enormous content machine that would require me to be online at all hours, chase algorithms, or publish simply because the calendar said I should. The goal was to create something smaller, more personal, and more sustainable. Six months in, Board Game Beat has published **200+ posts** and reaches **44,000+ unique visitors** each month. More than **2,000 people** have signed up as members, including approximately**300 paid members**. Those numbers feel somewhat unreal to me. Board Game Beat exists because readers were willing to follow me somewhere new — and because many more of you have discovered the site since its launch. Thank you! ## Six Months in Review During these first six months, I've written about games from publishers around the world, both large and small, familiar and obscure. I've covered new releases, awards, crowdfunding projects, industry changes, and random appearances by games in other media. I've reported from Spielwarenmesse, Toy Fair NY, GAMA Expo, and Origins Game Fair, previewing games and reflecting on the conventions themselves — and I'm proud to continue publishing Saigo's translations of Takuya Ono's reports (part 1 & part 2) from Game Market, giving you a direct peek into the Japanese indie scene. I've featured creators talking about their work, including Inka and Markus Brand discussing ten years of _EXIT: The Game_ , R. Eric Reuss detailing the future of _Spirit Island_ , and Thomas Sing explaining how he re-designed _The Crew_ to invite players on a _Journey to the Ends of the Earth_. I've written about the increasingly blurry boundary between games and puzzles, how and why people use BoardGameGeek, factors affecting tabletop game distribution, how to complain about games productively, and whatever else has seemed worth examining. The precise shape of Board Game Beat has evolved along the way, and it will continue to evolve. Some ideas work differently in practice than they did in my head, some subjects demand more attention than I had anticipated, and sometimes I slip down a rabbit hole when tracking a game or publisher's back story. That flexibility is one of the reasons I wanted to work independently. ## Behind the Beat Over the past six months, my wife Linda and I have continued to work on the systems that allow Board Game Beat to operate as a tiny independent business. Readers can receive posts individually or in a digest, follow the site through RSS and federated social platforms, participate in member surveys, and comment without surrendering their privacy to a large social-media platform. We avoid tracking scripts and the sale or exploitation of reader data. The site carries only a small number of directly-sold advertisements, with no behavioral targeting, ad networks, or rotating clusters of banners. Most recently, we launched an automated advertising system through which publishers can see available dates and current prices, reserve one of those limited placements, upload their assets, and receive an invoice without requiring a long chain of emails. That system should make advertising easier for publishers while reducing the administrative work required on our end. That last part matters as I want Board Game Beat to be sustainable personally as well as financially. I want to keep doing this work — and keep enjoying it. ## What Membership Makes Possible Advertising can cover part of the cost of operating Board Game Beat, but we deliberately limit the number of ads on the site. Paid memberships provide a steadier foundation and allow us to keep the great majority of the site freely available to everyone. Membership helps cover the technology required to run the publication, original reporting and research, convention coverage, outside contributions, and the less visible work involved in maintaining and improving the site. Paid memberships begin at **$2 per month** , with higher tiers for readers who want to contribute more or receive additional member features. You can upgrade, downgrade, or cancel at any time, so here is our entire six-month membership drive: **If you regularly read Board Game Beat and value what we are doing, please consider becoming a paid member.** I'm not going to turn this into a week of countdowns and repeated appeals. This post is the drive. If you already support Board Game Beat as a paid member, this is **not** a request to upgrade. You are already helping to make the publication possible, and I am deeply grateful. If a paid membership is not right for you, no problem! Reading the site, subscribing for free, sharing an article with someone who might appreciate it, or simply sending a kind note all help Board Game Beat find its place in the tabletop world. ## What's Next Over the next six months, I will continue to cover new games and industry developments, talk with people who create and publish games, and explore aspects of the game industry. I'll be at Gen Con 2026 in a few days, and I'll see what other travel is possible, as well. While the site features have changed since launch, the goal remains the same: Help people find games they might love, while celebrating the creators who make these games possible. Thank you for reading, subscribing, supporting, commenting, correcting, sharing, and joining us during Board Game Beat's first six months. ****Like this kind of game news coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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The past returns in Star Trek: Space Hunt, TworDuel, Golfie, and Risky Mixes

Old Games Made New

I appreciate how publishers revamp games to bring them back to market, although not necessarily every choice they make. Here are a few examples from mid-2026: ## Star Trek: Space Hunt While visiting French publisher Matagot at SPIEL Essen 25, I got a peek at Star Trek: Space Hunt, a design based on the Captain Sonar game system created by Roberto Fraga and Yohan Lemonnier. In that system, two teams face off, with each team controlling a vehicle and each player on a team controlling one or more aspects of that vehicle: navigation, weapons, engine maintenance, etc. Only by communicating well with one another will your team outmaneuver the opponent and destroy them. This system went through many iterations prior to the release of _Captain Sonar_ in 2016, with the game being shown at conventions as early as 2013 under the name "U-Boat". I played the game, then called "Polaris", three times in early 2014 while a publisher was considering the prototype, and eventually Matagot picked up the design and gave it the final name. Previous iterations of the __Captain Sonar__ game system Well, "final" until Matagot then released Sonar in 2017, with this being a scaled-down 2-4 player game compared to the 2-8 player count of _Captain Sonar_. (Some roles in _CS_ were more enjoyable on a first playing than others, so I can understand tightening the system to improve every player's first experience.) _Star Trek: Space Hunt —_ which is co-designed by Delphine Lemonnier, debuts in July 2026, and will be available at Gen Con 2026 — keeps the 2-4 player format, with the game featuring several generations of the _Star Trek_ universe, "allowing players to step into the roles of legendary duos such as Captain Kirk and Spock, Captain Picard and Data, or even the formidable Khan and Joachim". The setting seems like a great fit for the game system, but I'm not a Trekkie, so I can't assess how well the setting has been integrated in this new release. ## TworDuel TworDuel is a new version of a two-player game from Joli Quentin Kansil that debuted in 1972(!) as My Word!, then was brought back to market in 2010 by Eagle-Gryphon Games as **_What's My Word?_** Eagle-Gryphon's former parent company, FRED Distribution, is crowdfunding this new edition in August 2026, with the title being an awkward smashing together of "two word duel", which is apparently shorthand for "two-player word deduction duel"... ...but which also sounds somewhat like Wordle, and that is not an accident. The crowdfunding campaign mentions _Wordle_ five times, and _Wordle_ is also name-checked on the front cover of _TworDuel_ , so the publisher is clearly leaning on the "If you like X, you'll love Y" formula of marketing. And that approach makes sense given that _My Word!_ featured gameplay similar to _Wordle_ nearly five decades before _Wordle_ was released. Player sheets in __TworDuel__ The game is played in two rounds, with you trying to guess your opponent's six-letter word in round 1 and their seven-letter word in round 2. To do this, you'll enter guesses into a snaking grid, scoring points if a letter in your guess is in the hidden word and scoring even more points if that letter is also in the proper location, similar to the "scoring" in Mastermind, which debuted one year prior to _My Word!_ Ideally, you can use these points to deduce where letters should go in your final guess, which will earn you a huge bonus if correct. ## Risky Mixes Devir has licensed a José Manuel Fernández Aguilera design that first appeared in 2019 from Rocket Lemon Games as Mal Trago, a phrase that literally means "bad drink" or "unpleasant drink" but is used figuratively to refer to an unfortunate situation. The name works with both meanings as in this party game, 4-10 players serve as goblins who must test witches' potions, some of which will kill you. Each turn, you draw an action card, which might make you drink or choose an opponent to drink or put some condition on you that will force you to drink should you violate it. Whoever is the last living goblin wins. Art by Ana Marco In 2026, Devir will release _Mal Trago_ in English as Risky Mixes, with Devir noting in its announcement that this game has sold more than 150,000 copies to date worldwide. ## Golfie The game world has seen plenty of golf-style card games over the past decade — games like Skyjo in which you're trying to manipulate cards in your display to score the fewest points possible — but Jimmy Dorion's Golfie is the only golf-style card game I know of that actually features golf. _Golfie_ debuted in 2022 from Canadian publisher Les Éditions Momentum, then was re-issued as **_Golfie_** — yes, the same name — in 2024 by Canadian publisher Unigoat Edition, with the game now including character cards and tweaked action cards. __Golfie__ front covers from 2022 and 2024 A game of _Golfie_ consists of nine or eighteen holes, with each player starting with a 3x3 grid of cards, with one card face up in the top and bottom rows. Each turn, a player reveals an action card, and everyone carries out that action, which is generally one of two things: * A hole card, which represents your score for that hole on the course. Take one card in your top row (whether face up or face down) and remove it, scoring the value on your scoresheet. Slide other cards in that column up, then add a new card. * A "zone to play" card, which highlights one or two cards in a display. For each card marked, you can either flip it face up or swap it with an orthogonally adjacent card. (Some "zone to play" cards have character symbols, and if your symbol is on a card, you can act on that card instead of the general one for all players. If you get three cards of the same value in a horizontal or vertical row, you remove those cards, then add new ones to fill the grid and reduce your overall score by 2 points. Ideally, you'll push all the low numbers to the front row and ditch everything else. Hachette Boardgames USA plans to distribute _Golfie_ in the United States starting in September 2026, with copies initially available at Gen Con 2026. ****Like this kind of game news coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign up!

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A plea from the Tabletop Game Designers Association

TTGDA: Please Credit Designers for Their Work

On July 23, 2026, the Tabletop Game Designers Association issued a press release pleading for recognition of game designers in the publication of their work: > **TTGDA CALLS ON AWARDS, CONTENT CREATORS, AND PUBLISHERS TO ATTRIBUTE GAME AUTHORSHIP FULLY AND ACCURATELY** > Several recent announcements in the tabletop games industry have failed to identify creators of the games being discussed or described those games as being "by" their publishers, without naming the individual designers. The TTGDA finds this practice unacceptable and calls on awards organizations, content creators, publishers, and sales platforms to accurately identify designers when discussing games. "You would never recommend The Widow as the latest book by Doubleday. It's by John Grisham." said TTGDA Treasurer Elizabeth Hargrave. "The same > should go for tabletop games." > **Common Ways Designers Are Not Properly Credited** > ● Designers not receiving clear and specific credit in published products. > ● Publishers failing to name designers in solicitations and marketing text. > ● Sales platforms not including designers in their listings for products. > ● Awards not promoting creators as prominently as publishers in ceremonies and PR. > ● Influencers and games journalists covering a work's publisher but not also its creators. > ● Publishers identifying themselves as "creators" in marketing text or as "authors" or "designers" on sales platform listings. > ● Derivative products not identifying individual designers and source works. > Specific examples of these issues exist across our market. TTGDA has been actively working with both GAMA on the Origins Awards and Mensa on their Select winners to correct problems with their promotions, which have failed to include designers across multiple years. TTGDA has also had success working with Barnes & Noble to add designer names to their listings. Amazon, on the other hand, has resisted calls to properly make designers part of their listings, even though they have the ability to identify musicians and book authors in ways that make them > searchable and connect them to their creations. > TTGDA would also like to emphasize that while we see many instances where designers are not properly or accurately credited, there is also widespread support for designers in the industry. Some recent examples include the designer-focused Spiel de Jahres [sic] awards and the BoardGameGeek convention preview (such as the currently active Gen Con and Spiele [sic] lists). ## An Aside on Barnes & Noble TTGDA launched in May 2024, and on October 4, 2024, its second press release (PDF) highlighted efforts by the organization to work with the Barnes & Noble retail bookstore chain to have game designers credited on its website. From that press release: "Starting today, visitors to the Barnes & Noble website will see the names of game designers prominently displayed alongside game titles. TTGDA is using the resources at the BoardGameGeek website to assist Barnes & Noble in the ongoing process of adding designers to their large catalog of games, enabling this information to be available for both new releases and existing games." Looking at the B&N website, you'll see that the company took the "names alongside titles" pledge literally. Here's a sample book listing: Psst, read this book! But don't read anything about it first! And a sample game listing: Those two are not the same. Click on "Michel Faber", and you'll see other works written by him or including his writing. No such link exists for "Elizabeth Hargrave", but one does exist for "Stonemaier Games". And not all game listings on the Barnes & Noble website include a designer name: ## And a Similar Aside about the Origins Awards After the winners of the 2024 Origins Awards were announced in mid-2025, I recall seeing a note by TTGDA president Geoff Engelstein that objected to those awards mentioning only the publishers of those winning games, not their creators. The winners of the 2025 Origins Awards do have their designers listed on the Origins website, albeit after the publishers, but if you look at the list of finalists for the 2025 Origins Awards that published on March 18, 2026, that list credits only the publishers, not the designers. Looking at the listings for winners from 2010 to 2024, none of them include designer credits...which seems especially odd given that The Academy of Adventure Gaming Arts & Design, which runs the Origins Awards, also maintains a Hall of Fame for notable people and products. Want to know which creations by Hall of Famer Eric M. Lang have won Origins Awards, if any? Good luck as no links exist between the Hall of Fame and Origins Award winners. ## And Now One for Mensa Select The Mensa Mind Games website lists game creators for the awards given out in 2025 and 2026, but not for earlier years at least as far back as 2010. An additional oddity is that Mensa credits each game to a "manufacturer", not a publisher — and in many cases the "manufacturer" listed isn't even the publisher, but a distributor of the game in question, or a licensee of that game, not its originator. At a minimum, the credit should read "Publisher: Gigamic", but ideally it would read "Designer: Jules Messaud" with perhaps a secondary line for the publisher • • • • • • • • • • • • • • Let's return to the interrupted press release: > **Games Are Created by Designers** > While games can follow many paths before reaching the public, the most common one is for a designer to have an idea that they work on for months or years before pitching it to a publisher or deciding to self-publish. The polishing and product design work a publisher does — while important — does not override the designer's authorship of the game. Even for works that are created by an employee of a publisher, the designer is not the publisher itself but the individual doing the actual creative labor. They deserve to be credited by name. > "Accurate and prominent name credit should be a given in all aspects of game publishing and promotion," notes TTGDA Board Member James Lowder, an author and RPG designer with more than 35 years' experience. "Those credits have clear commercial and personal value for every creator. The industry must do a better job acknowledging the people who imagine the works and worlds that underpin everything we do." > **Designers' Names Are Readily Available** > In 1988, a group of board game designers organized by Reinhold Wittig banded together and signed a proclamation stating, "None of us gives a game to a company if our name is not written on the box cover!" Even for people outside a publisher's circles, game designers' names are now readily available not only on the covers of some games themselves, but in online resources like BoardGameGeek.com. 💡 For background info on this "Beer Coaster Proclamation" and details on ****how designer Reinhold Wittig contributed to the game industry**** , read this memorial post I wrote in April 2026. > "The games industry has largely agreed that designers' names belong on their games for over 30 years. Now we are calling on the industry to carry that over into how we talk about games," said TTGDA President Geoff Engelstein. > **Best Practices** > TTGDA recommends these best practices for talking about tabletop games: > ● If you mention the publisher, also mention the designers. This doesn't mean every person working on a multi-designer project needs to be listed every time, but at least mention the leads. When notable elements, such as innovative mechanisms, are promoted for multi-author works, credit the creators. If art is used in the PR, credit the artist. > ● Words matter: A game is "by" its designer or designers, and "published by" or "presented by" the publisher. The "creator" of a game is the designer, not the publisher. > ● If you don't want to take the time in a video or awards ceremony to read a list of names, consider a text overlay. This gives the opportunity to also highlight key facts in your presentation such as play time and player count. > ● Consent matters: Publishers, awards, and events should coordinate with designers on the use and presentation of their names. If a designer doesn't wish to be connected to something, they should be able to remove their name. As a best practice, this encourages designers to participate more actively in promotions where their name appears by consent. > ● Integrate clear designer credits and consent for name use into all game publishing contracts. > The Tabletop Game Designers Association is committed to working with any publisher, influencer, news platform, awards organization, and sales platform to encourage these best practices and continue to stress that fair treatment of creators is both the right thing to do and good for long-term business. I try my best to credit a game's author(s) whenever I write about it, but I typically don't include the creators with every _mention_ of a game, as when I didn't name check Larry Harris, Jr. following the appearance of Axis & Allies 1941. In the past month, I've started adding artist credits to images of game covers and components. Not sure why I didn't do this previously and why I started when I did — it just felt right suddenly. I am a stickler for mentioning the originating publisher of a game when it wins an award, as in my cover of the 2026 Spiel des Jahres winners, and if I write about publisher X releasing a game that debuted from publisher Y, I will typically work in a reference to publisher Y. After all, publisher Y brought the designer's work to its final form, so why should publisher X get all the credit? In addition, if someone likes game Z, they would benefit from knowing that they might want to check out other releases from publisher Y. P.S. Ironically(?), this press release from TTGDA had no credited author. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Sometimes your hobbies start overlapping...

Solving Board Game Puzzles

Board games and puzzles have a similar appeal in that when you're interacting with them, you're solving problems, specifically problems that you've chosen to take on and that ideally challenge you in interesting, fun ways. I love both board games and puzzles, but I usually interact with them in different settings: board games in the real world with other humans, and puzzles in a digital environment on my own. Over the past several months, though, board games have kept popping up in one of my prime puzzle sources: online site Puzzmo. I started using Puzzmo in September 2025, then signed up for an annual membership in December. Without a membership, you can access only the current day's puzzles — and not even all of those current puzzles unless you sign up for a free trial. I had played enough that the site seemed worth the cost, and I've continued to enjoy the site since then, with many more puzzles featured than I solve each day. [By the way, this is neither a sponsored post nor an affiliate link. I just wanted to write about my hobbies overlapping.] Puzzmo features two new crossword puzzles daily, along with a once-a-week giant puzzle. The larger daily crossword puzzle is submitted by a variety of contributors, while the smaller daily crossword is created by the same person for an entire month, which gives you a window into that creator's personality as you see themes and clue styles repeating in their puzzles over the weeks. Here are the two board-game related clues from Enrique in the puzzle shown at top: And here's a clue from the June 15, 2026 mini-puzzle from creator halle, who frequently presented rectangular grids with no internal blocks: And the May 25, 2026 mini-puzzle from creator leo tsai: With leo tsai also inserting a less-well-known game in their May 21, 2026 mini-puzzle, although you possibly get the answer anyway from context: Other crossword puzzles have referenced CATAN, Spirit Island, Caverna, Wingspan (again), Blood on the Clocktower (several times), The Crew, Sky Team, and a Ticket to Ride expansion that feels like it would be a deep cut for a casual gamer. And sometimes the game name is itself an answer, as with this October 30, 2025 puzzle: I'm sure you get the idea by this point, but I wanted to highlight these board game-puzzle crossovers as I appreciate the interlinking of my hobby worlds, in addition to Puzzmo's approach of featuring more casual clues that express the personality of the puzzle creators. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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And why you may want to do the same

Why I Avoid Game Sleeves

As an aside in a recent post, I mentioned that I've now played Steffen Benndorf and Reinhard Staupe's The Game: Extreme three hundred times since its debut from German publisher NSV in 2016. (That play count is now 301.) Here's the pic I shared from that game: My wife Linda took a pic to record her deadly 90s hand that was going to close out one pile If you're not familiar with _The Game: Extreme_ and how much I love it, you can check out this post and video I published in June 2023 after my 200th game. In short, players co-operatively try to play all cards numbered 2-99 on four discard piles, two of which you can play on in ascending order and two in descending order, although you can "jump" in the opposite direction with a card exactly 10 lower/higher than the top card. You're working with others to succeed, "talking" mostly through gameplay to make that happen. All 300+ plays of _The Game: Extreme_ have taken place with the same deck, which I received as a review copy in 2016. I bought a back-up copy at SPIEL Essen 24 as I was worried that the deck might finally be wearing out, but as of today that back-up copy remains unopened on my shelf because this deck is still going strong...which reminded me of a topic I meant to write about years ago: **Card sleeves are wasteful and largely unnecessary.** In the 1990s and early 2000s, I played Magic: The Gathering somewhat frequently. Seeing as _MTG_ launched the collectible card game craze in 1993, card sleeves did not exist for the CCG market until the mid-to-late 1990s once players realized that they were beating their cards to shit through non-stop shuffling — particularly cards like Black Lotus, Moxen, dual lands, and others that you would move from deck to deck since they were auto-adds. Card sleeves helped you avoid wear on cards, and black-backed card sleeves allowed you to use those beat-to-shit cards without being accused of playing with a marked deck. Without sleeves, you could look at your deck or an opponent's deck edge on and spot where all of the awesome cards are located because they were darker or more frayed than the surrounding cards. Card sleeves make sense in a CCG environment in which some cards are played more frequently than others and risk being marked through wear. Outside of CCGs, I think card sleeves are costly and pointless, and I use them following this one rule: **If I wear out cards through play and need to buy a replacement copy of a game, I will then sleeve the cards in that new copy.** Following this rule, I have sleeved exactly three* games over the past fifteen years, with one of those three being an exception to the above rule based on experience. The first such game was Carl Chudyk's Innovation, which I discovered in April 2010 and which I played more than 130 times within a year. At one point I realized that I could barely shuffle the cards — at least in the lower ages — because they were sticky from accumulated hand oils, so I bought a replacement copy of the game, then sleeved the cards since I knew that I loved the game enough to justify the cost. Worth the replacement cost...which makes them worth sleeving The second such game was Thomas Sing's The Crew: The Quest for Planet Nine, which I played 58 times on a purchased copy within a span of four days. As with _Innovation_ , the cards were somewhat low quality, with a smooth finish that tended to make them gummy through handling, so after I bought a replacement copy, I sleeved the deck ahead of future plays. For a lark, I did create an ASMR video in which I sleeved the cards in Ark Nova, punched out the game components, and boxed everything...after I which I de-sleeved the game because I prefer to play games without sleeves, so this was kind of the third game I sleeved, but not really. Watch this video and be mesmerized The third game, which is the exception, was Sing's The Crew: Journey to the Ends of the Earth. After eighteen hands of play on a review copy, the cards were already getting gummy, so I sleeved the deck ahead of the next play session using leftover sleeves from the earlier _Crew_ sleeving. Thus, I haven't purchased a replacement copy of this game and have pre-emptively taken action to avoid needing to do so. I realize that this latter situation is why so many people sleeve the cards in their games, but I think they're wasting time and money because few games require this kind of care. In my experience, few card games wear out to the point of unplayability, so instead of spending hundreds of dollars sleeving every game that's passed through my hands in the past fifteen years, I've spent approximately $20 on sleeves, along with $45 dollars to buy two replacement games. Well, I also spent €10 to buy a replacement copy of _The Game: Extreme_ , but I haven't even opened it yet — and when I do, I'm unlikely to sleeve it since (1) the cost to buy sleeves is one-third the cost of the game itself and (2) I'll likely get 300+ plays out of the next deck, assuming I live that long. I will note that one big difference between _The Game: Extreme_ and the games mentioned above is the quality of the cards themselves. Here's a close-up of cards in this deck: Yes, these cards are extremely worn, but for its German productions NSV uses high-quality, linen-finish cards that can take a lot of wear, yet still riffle shuffle smoothly. Here's a more zoomed-in image of two cards: Wear matters less in this game (and in most games) than in CCGs because all of the cards get worn at the same rate. If someone creases a card, then yes, that would be visible, but a crease would also be visible inside a sleeve. What's more, I'm not thinking about a game's resale value while I'm playing it, not that I plan to sell this game, of course. Instead, each time I pull out _The Game: Extreme_ , I marveling at and appreciating the evidence of wear on these cards, which serve as a record of how much time my wife and I have spent playing this game together. If _Innovation_ and _The Crew_ used higher-quality cards, I wouldn't have needed to buy replacements in the first place because the cards would have lasted far longer, similarly reflecting this history of play, while still being playable. I know that some gamers worry about the re-sale value of their games, and for this reason they sleeve cards in advance of play to ensure that everything remains pristine, but given the quantity of games on the market and the rate at which I see games sold off on BGG, Facebook, and elsewhere, the re-sale value of most games seems minimal. The used market is flooded with games played a handful of times — or even just once — alongside NIS (new in shrink) games frequently selling for one-quarter the publisher's MSRP, so the amount of money "gained" from selling a more pristine used game doesn't seem worth the time spent sleeving (then un-sleeving) that game, or the cost of the sleeves should those be included with the sold game. Instead of thinking about future re-sales, I'm focusing on the present: Am I playing this game enough that it is becoming unplayable through wear? If so, then maybe I should buy a replacement copy and sleeve it to prepare for more plays in the future. Maybe. If not, then why worry about it? Let any potential wear be someone else's concern down the line, should they care about such things. As for me, let me focus less on futzing around with games to preserve them, similar to how I've stopped worrying about bagging game components (other than cards) when those components are unlikely to be damaged or lost. Use games, and let them bear evidence of wear and enjoyment. After all, I marvel at used games when they show a lot of wear, when they show evidence that someone loved a game and played it repeatedly, so let me contribute something similar by not thinking about preservation and instead by demonstrating my passion. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Get an overview of Underwood, Loyalty: Rome, Chivalry, and Pirates of Maracaibo: Shipbuilders

DLP Games Offers You Loyalty, Chivalry, and...Mushrooms

In addition to handling pre-orders for Alexander Pfister and Peter Prinz's upcoming game -60º from Nanox Games — as described here — German publisher dlp games has three titles of its own that will debut at SPIEL Essen 26 in October, along with an early 2027 release that it will demo at that show. Let's survey what's coming, with the 2026 titles being available for pre-order via the game links. ## Pirates of Maracaibo: Shipbuilders Let's start with a Pfister title of dlp's own, with Pirates of Maracaibo: Shipbuilders from Alexander Pfister and Ryan Hendrickson being the third expansion for 2023's Pirates of Maracaibo, which was co-designed by Hendrickson, Pfister, and Ralph Bienert, who runs this title's co-publisher, Game's Up. Art by Fiore GmbH The pitch for this expansion is straightforward: "Now is the time to adapt your boat to meet every challenge and finally set sail across the Caribbean in a magnificent ship! Prepare to launch new ships and adorn them with two new figureheads." In short: Want more ships? Build these ships! ## Loyalty: Rome In Nicholas Paschalis' Loyalty: Rome, each of the 2-4 players is a Roman senator vying for the favor of the gods, but not every god can be influenced at all times — and they don't necessarily stick around awaiting your attention. Art by Maxx Kattnig and Klemens Franz Each turn, you take one of four actions, with the main action being to place a messenger on a god, take an influence die from below it, then carry out the main action (marked with a filled star) or general action on the card; each other player can then follow by placing a messenger on the first space of the temple track, then carrying out the general action...unless they already have a messenger on this god, in which case they could do the main action instead. If any part of an action can't be fulfilled, you can't take it. No influence die under a god means you can't choose that god. No messengers in your supply means you can't follow another player. You can retrieve messengers from the temple as an action, gaining whatever rewards they stand on. You can also just take a die from below a god and a coin from the reserve, which prevents others from following you or (possibly) taking an action at that god. At the start of a turn, if you have 2+ messengers on a god and more messengers than anyone else, you gain the random favor above that god and the dice below that god, then discard it in favor of a new random god and a new random favor. (How capricious we are with these gods! Help me, help me, help me, see you later!) Next, if you have 3+ dice, you roll them to seed the god row with more potential actions. You use seven-tenths of the gods in any game, and when that stack, the favor stack, or a laurel stack runs out, you do some clean-up, then see who has more prestige. ## Underwood Italian designer Andrea Mainini has four games coming out in 2026, all of them co-designs with one other person. I covered Bella Vista, a co-design with Bruno Cathala, in May 2026, and now we're looking at the 2-4 player game Underwood, created with Remo Conzadori. In this game, players will spread their mycelia through the forest, sprouting mushrooms bit by bit, with gameplay far more streamlined and minimalist than in Elizabeth Hargrave's similarly named Undergrove. (Remember the year of Mycelia madness! 2023 was not so long ago...) Art by Claus Stephan and Antje Stephan To play, smoosh 11-17 forest tiles into a continuous surface, then seed the board with four mycelium tokens in your color in reverse player order. On a turn, flip one of your mycelium tokens to make it a mushroom, then choose either the forest tile you're on or a forest tile adjacent to this mushroom and place mycelium tokens on each space on this tile that's adjacent to the new mushroom...possibly covering opposing mycelia in the process. When someone can't play because they don't have enough tokens to spread, the game ends. Each tile is claimed by whichever player has the most mushrooms on it, with most mycelia breaking a tie; if a tile has only mycelia, then whoever has the most takes it. Each tile is worth points equal to its size (2-6), with leftover mycelia being worth half-points. The game includes variants with open forests, trees, and ant trails, giving you new ways to spread your spores and more things to score. ## Chivalry What dlp games will only demo at SPIEL Essen 26 is Dávid Turczi's Chivalry, a co-production with Game's Up due out in Q1 2027. Here's an overview of this 1-4 player game that carries a playing time of 45-120 minutes: > As ambitious knights in the realm of King Arthur, you and your fellow players seek glory, influence, and renown. > > Each turn represents one day for your knights in the realm. At dawn, your knights ride to market towns, countrysides, ports, or Camelot itself. During the day, they take actions based on the locations they visit. At twilight, they make camp, call their retinue back to service, and (if summoned) attend the feast at Camelot. Art by Fiore GmbH > Your retainers provide the skills your knights need to act. By placing them on your player board, you gain temporary skills that can be used to increase movement, perform location actions, complete quests and encounters, and resolve powerful effects. > You'll also want to raise the seals of Merlin and Morgana — two rival powers that shape the destiny of every region. Not only do you gain powerful new abilities from Merlin or Morgana, but you also determine which deeds yield the most glory when scoring the regions. Along the way, your knights can discover ancient runes hidden throughout the realm, win the favor of members of Camelot's court to support your cause, and even seek an audience with King Arthur himself. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Goodbye, Airtable and spreadsheets; hello, one-stop service

Inside the Beat: Introducing Our New Ad System

When my wife and I developed Board Game Beat, we figured that we'd try to fund the site — that is, cover all costs and pay me a salary — through a combination of advertising and member support. We're using Ghost as a hosting platform, which has an integrated member sign-up and subscription system, so the membership aspect of the site has run smoothly. The advertising, however, has been less smooth since we had to patchwork together Airtable, spreadsheets, a mailing list, and manual insertion of ad banners within the code. I greatly appreciate the initial ad sponsors who believed Board Game Beat was worth supporting and who worked with us as we navigated through this set-up. That said, we knew even before launch that the system was not ideal, so we started working with a programmer, Oliver Lawton, to design a bespoke advertising system after being surprised that none of the dozen-plus existing platforms we investigated handle the process the way we wanted. Many of those systems were designed for Airbnb sites and similar businesses that have spaces for rent, but none of them were ideal for advertising. After several months of work, with me being the prime hold-up since I tend to focus on research and writing over business activities, this system is now live. Here's how it works: * Go to WEMadvertising.com to see which ad slots are available, using the arrows at top to flip through the months. * The ad rates adjust automatically, with a 25% discount if you're booking 8–30 days in advance and a 45% discount for ads booked at least 31 days in advance. * Click **BOOK** next to whichever ad slots you want, then click **CONTINUE** on the cart at the bottom of the screen when you're ready to check out. * The check-out screen has a 15-minute timer to hold slots for you, and it lists your choices, along with any discounts applied. * If you already have banners prepared — with the banner sizes being listed on this page as well as the ad info page — you can upload those banners immediately. You can use the same banner for each week in a particular placement or upload a different banner for each week. An order confirmation for an ad I "ordered" to test the system * Once you confirm the booking, you'll receive an order confirmation by email that includes an upload link, which allows you to upload banners if you haven't done so already or change what you have uploaded as long as the ad period hasn't yet started. * When you click on the upload link, you'll see this: * The order above is listed as pending because (1) the invoice hasn't been paid and (2) the assets have not been uploaded. The invoice is sent in a separate email as the ad system is integrated with Wave. So much easier! We still have a few modifications and edge cases to address. For example, if the person who receives the order confirmation later leaves the company — something that happened recently — I don't have an order upload link to give to the new employee who will be uploading the images, so I once again need to handle that manually. Of course, a simpler booking process matters only if the advertising itself is worthwhile. Board Game Beat offers a small number of premium placements, with no rotations, no ad networks, no behavioral targeting, and no tracking scripts. Each advertiser receives a clearly defined position in a clean editorial environment read by dedicated hobbyists and people throughout the tabletop industry. If Board Game Beat seems like a good fit for something you’re publishing, crowdfunding, releasing, demoing, or otherwise trying to put in front of dedicated board game people, the new system should make it easier to see current availability, choose a placement, and book a spot. You can view current availability, placements, and rates here. • • • • • • • • • • • • • • For those who have made it this far, here's a pic from my 300th recorded play of The Game: Extreme, most of which have been played with my wife: Linda's terrible hand; unsurprisingly, we did not win... If you're curious to know why I love Steffen Benndorf and Reinhard Staupe's _The Game: Extreme_ so much, check out this post and video I published in June 2023 after my 200th game. I'll note that all three hundred plays — and a few more that I've forgotten to record — have been played with this one deck. NSV makes good-quality cards that hold up to a lot of use. No sleeves needed!

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Nanox Games prepares the board game -60º for release at SPIEL Essen 26

Head South with Alexander Pfister and Peter Prinz

Austrian publisher Nanox Games debuted in 2020 with CloudAge, co-designed by Alexander Pfister and Arno Steinwender, and after 2023's Evenfall, it released Peter Prinz's Countryside in 2025. Now for SPIEL Essen 26, Nanox is featuring Austrian designers Pfister and Prinz in a game set far from their beautiful country: -60º. Here's an overview of the setting and gameplay of this design that features elements of deck-building and worker placement: > At 11 p.m. on the 23rd of September, 1971, all over a world very much like ours, people noticed a strange light in the sky. Three hours later, it struck somewhere in Antarctica. Part of the back cover of __-60º__ > Several research teams have now landed on the shores of Antarctica, and the objectives for your team are clear: Establish a highly efficient network of stations, scout the unforgiving landscape, reach the mysterious meteorite impact site, and be the most successful research team to go down in the history books...but ideally not in the manner of Lawrence Oates. > Combine scarce resources with your technological expertise to gear up for expeditions and launch groundbreaking scientific projects. When temperatures drop far below freezing, through the storm-swept landscape, balancing risk and bravery will decide between triumph and disaster. Sample cards in __-60º__ On BoardGameGeek, Alexander Pfister notes that your explorers are not removed from the game board after use, but rather new tiles and action become available as you explore Antarctica and search for the meteorite's landing site. Writes Pfister, "The game includes many cards — some will go into your deck, while others grant permanent powers or unlock new worker placement spaces exclusively for you. You’ll build stations in Antarctica and can even upgrade them if you have enough explorers nearby." German publishing partner dlp games is taking pre-orders for _-60º_ in separate German- and English-language editions. All of these explorers will die from exposure unless they cover up soon... • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Overviews of the eight games German publisher AMIGO will release in late 2026

Don't Panic! Matthias Cramer's Strange Creatures Are on Your Side

German publisher AMIGO will have a larger-than-normal number of game releases in October 2026, most of them in the familiar small and small-ish boxes the company has used for years. Let's run through the list: ## Strange Creatures Designer Matthias Cramer describes the 3-5 player **_Strange Creatures_** as "a deck-building trick-taker" in which you either take the trick or receive a coin with which you can improve your deck by buying cards from a market filled with creatures that allow for fantastic combos. Art by Jan Bintakies Here is AMIGO's short description of this 30-minute game: > Welcome to Lumora, a mysterious island found on no map. Driven by curiosity and courage, players embark on an expedition. Along the way, they encounter strange creatures — some beautiful, others a bit eerie. Players will uncover the creatures' secrets, compare their unique traits, and immortalize rare finds on coveted postage stamps. ## Panika In a May 2026 Facebook post, designer Haim Shafir says, "Since Taki, I have created over a hundred games, some of which are international bestsellers, but I have never said about any of them what I dare to say about _**Panika**_ : '_Panika_ is our best game since _Taki_.' Because apart from the amazing responses we've received from those who have already played it, the global market is also speaking out, and by the end of the year it will be on shelves in many countries." Art by Marina Zlochin Germany is one of those countries thanks to AMIGO, which has been publishing Shafir's design since at least 1993, and this co-design by Haim and Uri Shafir for 2-5 players features all the hallmarks you would expect: quick play, simple rules, and strong graphics. Your goal is to ditch all of your cards first without being blown up too many times. To start, the deck is split amongst players, with each player holding four cards in hand; a phone bearing the Panika app needs to be on the table. On a turn, play a card, tapping the screen 0-4 times if you play a number card; 5 times if you play a single vegetable; and 0 times(!) if you play a pair of matching veggies. When the phone is tapped 21-30 times — a number determined randomly by the app — BOOM! Everyone else at the table gives that player one card from their deck. The count then resets. Special cards reverse play, allow you to force someone else to play two cards, or make everyone else tap the phone once, after which you play again. ## unglaublich einfach A 2-6 player design by Klaus Altenburger is called **_unglaublich einfach_** , which means "incredibly simple", and the gameplay must reflect this as the description from AMIGO is rather vague in details: > Small, green, and suddenly everywhere: peas. The goal is to collect high-value cards to secure the most points. Players need only keep an eye on their own display, however, as space is limited. An incredibly simple card game that is hard to put down. Art by Sonja Müller The 1-2-3 gameplay description on the back of the box says, "Take a card", "Lay it in front of you", and "Or score directly". Cryptic! ## Fantastique This 2-5 player card game by UK designers Brett J. Gilbert and Trevor Benjamin debuted in June 2026 at select retailers and will be available through all retailers in October 2026. Art by Miriam Rowe I previewed Fantastique in April 2026, then posted an artist diary by Miriam Rowe in June 2026 as I loved her work on this game, not to mention the stories and travel that went into the creation of each design. Very inspiring! ## Molly Mampfzahn The Frederica Scott Vollrath design **_Molly Mampfzahn_** resembles a coin pusher arcade game, you know, the kind where you drop a coin in front of a vertical sweeping bar that then pushes your coin into a crowded field, ideally dropping many other coins into your hand so that you can turn a profit but rarely doing so. Art by Fanny Pastor-Berlie _Molly Mampfzahn_ works the same way as a coin pusher, except that the horizontal surface represents the dragon's digestive tract, and 2-4 players are pushing items into the dragon's mouth in the hope that treasure will fall out of its backside. Magic swords, hats, clocks, bicycles — everything that tumbles out of that dragon's ass is worth gold coins to you. Well, everything other than fruits and veggies, which get charred in the process and turn into lumps of hot coal that will melt your cloacal coins. ## Baddass Bunnies, Restart, and BLUFFIT AMIGO is releasing German-language editions of these three games originally released by other publishers. "I was able to secure Badass Bunnies, BLUFFIT and Restart for us", editor Bernd Keller told me. "All three of those were already released in other parts of the world, so we felt it would be good to release them ASAP. That is why they ended up in the roster for Essen." Sjoerd Yska's **_Badass Bunnies_** debuted in 2025 from Dutch publisher 999 Games, and it's a press-your-luck, deck-building game for 2-4 players that I've played a dozen times on a review copy and greatly enjoyed, as explained in this November 2025 review. Gameplay is akin to The Quacks of Quedlinburg in that you're trying to gain as many resources as you can each turn without busting so that you can buy new stuff and be the first player to reveal ten rabbits from your deck in a single turn. From left to right, art by Tom De Letter, Paul Laane, and Fiore GmbHDetaDet ** _Restart_** is from designer Younsu Hwang, and the design first appeared in print in 2014 as Sixteen from Korean publisher Magic Bean Games. The game contains tiles from 1-16 in five colors, along with a few special tiles, and all the 1s start in play. On a turn, play one tile or a consecutive run of tiles of the same color on that color's row as long as your lowest played tile is higher than the highest tile in that row. In short, the numbers go up. You're trying to ditch as many tiles as possible as leftover tiles count against you when the game ends due to no one being able to play. At SPIEL Essen 25, Danish publisher Gameplay Publishing gave away one thousand copies of Mads Emil Christensen's card game **_BLUFFIT_** , presumably trying to copy the marketing that The Op Games used for Flip 7 at Gen Con 2024: Put it in people's hands, and let them spread the word. Seeing as AMIGO is releasing the game in German in 2026 — while IELLO is releasing it in French and Gémklub in Hungarian — the strategy seems to have worked. Gameplay in _BLUFFIT_ is somewhat akin to Alex Randolph's Hol's der Geier in that players start with cards numbered 1-10, and each round they'll secretly bid with one of those cards to try to claim a numbered scoring card. Here's how: > All players simultaneously play a card from their hand face down. Then, in turn order, players either claim one of the available scoring cards or challenge another player who has already claimed one. In a challenge, both players secretly compare strength cards, with the higher card winning the scoring card. (In a tie, the challenging player wins.) > Once all players have acted, remove any unclaimed scoring cards from the table. Claimed scoring cards are placed in each player's score pile. The played strength cards are then shuffled and revealed to form the new set of scoring cards for the next round. After ten rounds, players complete one final round using the cards last played by selecting a card from their score pile. Those played cards are removed from the game, claimed cards are added to score piles, and the player with the highest sum wins. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Other 2026 releases from Rio Grande Games include Kangaroo Island and Clockwork Wonders

From Thurn and Taxis to StageCoach, with Andreas Seyfarth

U.S. publisher Rio Grande Games has been relatively quiet in 2026, releasing only Tom Lehmann's Race for the Galaxy: Xeno Counterstrike in the first half of the year, with this being the second expansion in Race for the Galaxy's third expansion arc following 2015's Xeno Invasion. For details on this expansion, check out Lehmann's designer preview. German publisher 2F-Spiele says the Rio Grande Games will release Friedemann Friese's Fishing 2 — which I covered in May and [disclosure] for which I was hired by 2F-Spiele to edit the English rules — but beyond that game only three more titles seem likely to appear from RGG in 2026...and possibly not even by then. Of the three titles covered below, Rio Grande Games owner Jay Tummelson tells me, "We are still waiting for expected production dates, and we expect [the release dates] will be later this year for all of them. We will publish the rules on our website when the games are available." What are those games? Well... ## StageCoach As far as I can tell, Rio Grande Games first mentioned Andreas Seyfarth's StageCoach in a July 2024 newsletter. Here's the publisher's brief description of this design: > Load up your stagecoach, and make your way through the early American wilderness. Establish safe routes between the growing major and minor towns, while gathering resources to establish businesses in them. Provide vital services to the swiftly migrating populace to build up your influence in the various territories. During your travels, seek out those with the needed skills who are ready and eager to help you make your mark in a new world. Front cover of __StageCoach__ , courtesy of artist Eric J. Carter Some speculate that this game is a new version of Thurn and Taxis, a 2006 design by Andreas and Karen Seyfarth that won the Spiel des Jahres award, and that speculation is half right. "The game is based on _T &T_ in terms of planning your routes", Seyfarth told me. "Once again you have a map divided into areas with several towns. Those towns are connected in your route by cards. This feature feels identical to _T &T_, while the rest of the game is quite different. You have to deal with area control, collecting enough wood for your buildings, and useful help of non-player characters." As for _Thurn and Taxis_ returning to print, Korean publisher Playte has announced a new edition of that design, now titled _**The Birth of the Post**_ , for release in 2026. Adds Seyfarth, "For all players waiting for a re-release of the old _T &T_ outside Asia: Your requests have been heard." ## Kangaroo Island Now we'll head to the southern hemisphere for Talia Rosen's Kangaroo Island, which first appeared in RGG's November 2024 newsletter. I wrote about Kangaroo Island at the time, and the game description today remains as minimal as before: > Off the coast of southern Australia sits Kangaroo Island, home to an abundance of diverse wildlife. Mobs of kangaroo inhabit the scrublands, while local little penguin colonies thrive in nearby rocky burrows. If you look up into the occasional eucalyptus tree, you're sure to see a pair of koalas, and if you peer into one of the many waterholes, you may spy the venomous platypus. Front cover of __Kangaroo Island__ ; art by Susie O'Connor > In _Kangaroo Island_ , you'll control a growing herd of these animals as you explore and lay claim to the island's finite territory. Earn nature stars by taking a balanced approach to claiming territory, while unlocking new abilities for your animals and watching out for bushfires and human construction sites along the way. Rosen has detailed the development of the game, which started as "an intergalactic space exploration game", in a designer diary on BoardGameGeek, with Twilight Struggle's Jason Matthews having a hand in the game's final setting. The diary details what Rosen looks for in games and how her design delivers this experience: > ...I like board games that confront me with difficult and meaningful decisions. I want games that are chock full of player decisions; I want those decisions to be difficult so players have to wrestle with their decisions; and I want those decisions to be meaningful so that they impact the subsequent turns, the game state, and the outcome. I want all of that with limited downtime between turns and in 1-2 hours... > The part of the design that I think best reflects this is the way in which the game separates out tile placement from point scoring. When you place tiles, you can complete terrain features that unlock important advancements on your player mat that give you a new unit or improved abilities, but you cannot earn any points through tile placement. This is a conscious and fundamental break from the inspiration of Carcassonne. This is coupled with the somewhat counterintuitive turn structure that has players completing movement and claiming territory before the tile placement step of your turn. While playtesters are often eager to place their tile at the beginning of their turn, this would make decisions often too obvious because you would move onto and claim the tile that you just placed. Inverting the order of the phases means that players need to consider how their tile placement may be exploited by their opponents for points. The difficult and meaningful decisions that I’m aiming for are wrapped up in how players prioritize competing incentives, how players space out their limited animal units, and whether going with your instinct to complete a given terrain feature is always the best path in a given situation. By chance, between my initial 2024 coverage of _Kangaroo Island_ and today, I played and reviewed Klaus-Jürgen Wrede's 2007 game Venedig, which features a similar turn structure: * Play 0-5 of your cards in hand. * Drain 0-2 swamp spaces on the game board. * Draw cards. You want to do those steps in reverse order so that you can act immediately — drawing cards, clearing land on which to build, then building through card play — but you can't, which leads to tangled interaction among the players as you compete for control over what gets built where. For me, this reversal creates a far more interesting play dynamic, so I'm curious to see Rosen's game once it's finally available. ## Clockwork Wonders The final title is Clockwork Wonders, a 2-5 player game mentioned as far back as RGG's January 2024 newsletter from Nikolaj Wendt, who self-published one game in 2010 and who is currently head of design at video game studio BetaDwarf. Here's the overview: > T _ake the role of a wealthy family of patrons during the fictional golden age of steam and clockwork. Each house vies to construct marvelous buildings, combining artistic flair and clockwork technology to show off their wealth and power. By expanding throughout the area and building trade houses, players gain access to natural resources that can be used on their wondrous projects._ > _A player completing their fourth project triggers the final round of the game, after which players sum their points._ Front cover of Clockwork Wonders, courtesy of artist Harald Lieske • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Everyone always reaches for a game after dinner is over, right?

After Dinner, Reach for Ice Cream, Fruit Cocktail, and Moonshine

Let's sample a trio of after-dinner treats that might inspire you to clear away the dishes more quickly than normal: ## Melted Designer Ami Baio of Pink Tiger Games debuted in 2018 with You Think You Know Me and has crowdfunded other party game projects since then, but in July 2026 she released her first straight-to-retail game — Melted: A Messy Ice Cream Game — which also happens to be her first non-party game design. Says Baio, "Melted is my first game that isn't conversational — just a quick, fun, easy card game with a little sweet sabotage to play with anyone anywhere." Promotional flyer for __Melted__ _Melted_ is a traditional card-shedding game for up to seven players: If you can play a card on your turn, do so. Otherwise, draw a card, then play if you can. You can think of players all working in the same ice cream shop and trying to satisfy a fussy customer who keeps changing their mind. You can add a matching flavor card to the existing cone, play a double-scoop card that allows two flavors to be played as long as it's visible, drop a cherry on top, use a napkin to discard the mess of the current cone and start a new one, and more. To win, be the first to serve all of your cards or have the fewest cards in hand when the deck runs dry. ## Fruit Cocktail Designer Bruno Faidutti puts a different dessert in players' hands in Fruit Cocktail, a card game for 2-4 players released in late 2025 from Ghost Dog, a formerly independent publisher that Don't Panic Games purchased in mid-2025. Front cover of __Fruit Cocktail__ , along with an example of how to set up the game; artwork by Maxime Morin Gameplay is quick: Each turn, a player takes one of the cards underneath a fruit. When two cards have been claimed, the remaining card becomes the value for that fruit! Will blueberries be worth 5 points each, or less than zero? Time will tell... Three of the fruits start face down, and players each get to peek at one of them, so the game contains a smidge of hidden information, which allows for a bit of bluffing and deduction — a tiny bit, given how short the game is. Perhaps you'll want multiple servings to improve your chances for a sweet ending. ## Moonshine Should you prefer treats in a liquid form, you might instead turn to Moonshine, a 2-5 player design from Thomas Dupont that French publisher BLAM! released in October 2025 and that U.S. publisher 25th Century Games is importing as part of a crowdfunding campaign. Each player starts with a speakeasy and two clients — anthropomorphic clients, mind you, so I guess you're not actually dealing in illegal hooch. Not sure what the laws are for animal drunkenness in the 1920s. The front cover of __Moonshine__ , along with a gameplay example; art also by Maxime Morin On a turn, the active player rolls the three white dice, then uses any re-rolls if they wish. All players then use the results to either validate a client card (assuming you can spend what's listed in the upper right corner); draw client cards, then optionally replace one of your current clients; or add a moon token to a card to possibly activate its special power. How do moons do this? Your speakeasy and your clients have one or more moons in the upper corners, and if all moons in a column have tokens on them, you activate the depicted special power. The left column of your speakeasy, for example, gives you a resource icon of your choice, while the right column allows you to use the blue die, with this die being rolled only if the active player has this symbol activated. (The same is true for the orange die, and these special dice feature moons and joker resources.) Once you validate a client, you tuck that card under your speakeasy, gaining the power in its lower-right corner. The powers from validated clients and full moons affects the number of re-rolls you have, cards you draw, current clients you have, and resources you add to the dice rolled — and since client validation requires you to spend one or more moons, you'll gain and lose powers over the course of play, akin to an inebriated frog swaying back and forth while deciding whether to squat back on its stool or start fighting some mouthy owl. The game ends the round that someone hits 12 points, although experienced players can opt for a variant with a client draft, more powerful speakeasies, and a higher point threshold. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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The Kennerspiel winner is Rebirth, with Mooki Island taking Kinderspiel

JinxO Wins 2026 Spiel des Jahres

On July 12, 2026, more than seven weeks after the Spiel des Jahres jury revealed the nominees for the three awards it manages, the jury revealed the winner of the 2026 Spiel des Jahres: Martin Ang's JinxO, which debuted in 2024 from Indonesian publisher Tabletoys Games, which Game Factory released in German as **_Dito!_** I reviewed _JinxO_ in July 2025 after getting a sample copy from the publisher at SPIEL Essen 24. It's a fabulous party game that's gone over wonderfully with both gamers and the most casual of game players. As I wrote in my review: "_JinxO_ isn't recreating the party game genre; it's 'just' a well-designed, familiar party game that delivers what you probably want in a party game: friendly time spent with others, with high-fives, fun discussions, and gentle disagreements sprinkled into the mix." The other two nominees for Germany's game of the year award were Cozy Stickerville by Corey Konieczka and Morty Sorty Magic Shop by Markus Slawitscheck. For the other two awards, Reiner Knizia's Rebirth from Mighty Boards won the 2026 Kennerspiel des Jahres award — the so-called expert's award — over Boss Fighters QR, co-designed by Michael Palm and Lukas Zach, and Moon Colony Bloodbath, designed by Donald X. Vaccarino. For an overview of _Rebirth_ , you can check out my review from 2024 — and if you already know the game and like it, during the SdJ ceremony Mighty Boards' David Chircop promised that more is coming This award "completes the cycle" for Reiner Knizia, who in 2008 won the Spiel des Jahres for Keltis and the Kinderspiel des Jahres for Whoowasit? ****Like this kind of board game coverage?**** Get Board Game Beat’s free posts by email — original reporting, designer interviews, and industry news, with no tracking, no ads, and no spam. Sign Up Free The 2026 Kinderspiel des Jahres award goes to Florian Sirieix's Mooki Island, which originated from Canadian publisher Scorpion Masqué and which was released by German publisher KOSMOS as **_Die Insel der Mookies_**. Scorpion Masqué previously won the 2024 Spiel des Jahres for Luc Rémond's Sky Team, with Annick Lobet's Zombie Kidz Evolution having been nominated for Kinderspiel in 2020. The other two 2026 Kinderspiel nominees are Boo Party, co-designed by Florian Sirieix and Benoit Turpin, and Verflixt Verzaubert, designed by Thomas Dagenais-Lespérance. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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In a survey, 68% of Board Game Beat readers chose Corey Konieczka's Cozy Stickerville as the 2026 Spiel des Jahres, with the actual winner to be revealed today, July 12. 58% think Reiner Knizia's Rebirth will win Kennerspiel des Jahres. The Kinderspiel results were a three-way tie. —WEM

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Ready for a new challenge in this arcade-like co-operative game?

Boss Fighters Get Jungle Fever

When a game is nominated for a national award, most publishers wait for the winner of that award to be revealed before announcing spin-offs and expansions, but German publisher Pegasus Spiele — which saw a Kennerspiel des Jahres 2026 nomination for Michael Palm and Lukas Zach's Boss Fighters QR — decided to take a different route for that game's expansion. On Friday, July 10, two days before the Kennerspiel winner is named, Pegasus Spiele announced an October 2026 release for Boss Fighters QR: Dschungelfieber, which will also be released in English as **_Boss Fighters QR: Jungle Fever_**. First, some background: The co-operative game _Boss Fighters QR_ has 2-4 players each choose a character (dwarf, elf, halfling, troll) and a class (warrior, rogue, mage, druid), then combine the cards for each to create a deck. Together you will fight one of ten bosses in the game, and to do so you'll scan the QR code on the back of each card you play, with the boss responding to those actions. The nature of each boss is initially a mystery, and you must discover their threats and weaknesses through play. Each boss has four levels of difficulty, giving you a fresh challenge even if you've already brought them down once. _Boss Fighters QR: Jungle Fever_ gives players more of everything included in the base game, such as two new characters: the goblin tinkerer who uses scrap material in new inventions, and the shapeshifting dryad, who serves as a guardian of nature. Two new classes are included — paladin and shaman — along with five new bosses, new items, and new loot cards to be gained once you defeat a boss. All components in the base game and _Jungle Fever_ expansion can be combined, creating many more combinations of characters and classes to pit against bosses both new and old. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Meet with designers and check out their creations

Game Market Comes to Gen Con 2026

Should the Gen Con 2026 exhibit hall and thousands of scheduled events not feature enough new games for your tastes — or if you're just in the mood for something different — be sure to check out Game Market Indianapolis, a one-night event taking place on Saturday, August 1 at 19:00 on the third floor foyer at the JW Marriott. Game Market Indianapolis is modeled after Tokyo Game Market, with designers presenting small quantities of self-published games sold directly to the public. GMI is organized by designer Taylor Reiner, who has arranged similar events previously, such as Game Market Vegas 2026, which I previewed in February 2026. Reiner told me, "We're so excited for this first year and are hoping to show off what's great about the indie game design scene and how this type of event is great for indie game designers and the gaming scene as a whole." You can see all of the designers taking part in GMI here, along with the games they'll be featuring and with linked rules for many of these games. Titles include: * Daytime Minutes, by Cardner and Alex Babakitis — in this trick-taking game, cards equal minutes, and you want to use as many minutes as possible on your 180-minute SIM card without going over. Luckily, trick calls in the evening as free and don't count against your balance! * Lunar Cycle, by Alan D. Ernstein — another trick-taking game, with some card values changing "with the moon". More specifically, after the first trick, 1s become 9s, then after the second, 2s become 10s, and so on. * **_That's My Poison_** , by Carl Klutzke — yet another trick-taking game, a phrase you'll find repeated a lot here, with players serving as chefs on a team. In each of three meals, each chef has a recipe showing two ingredients they want to collect, then they choose an ingredient they must avoid. Should they win a trick that contains this ingredient, they have to throw out everything! The lowest-scoring chef gives the team its final score. * **_Shortstack_** , by Marceline Leiman — in this trick-taking game, you have two hands simultaneously, and in a trick you first play a card from one hand as the suit (following the lead, if possible), then you play a card from the other hand as the rank. The lowest pair of cards wins, and if no pair is played, the lowest-ranked card wins the trick, with that player claiming the points on its ranked cards. However, if you win too many tricks, you're out of the hand and others score. * **_Fairies Are Everywhere_** , by Taylor Reiner and Ty James — this trick-taking game pits two humans against 1-7 fairies, with the humans trying to hit their secret bids for tricks taken and the fairies trying to make the humans win the same number of tricks. How do they do this? Each fairy gets a power card and a number of gems, and they can move around the table freely looking at the humans' hands, spending a gem to stop time and perform their power. Curious... * **_Through Line_** , by Lucas and Divya Hedgren — three players have three seconds each to draw one line, then the remaining players try to guess the image they drew collectively. * **_The Grid_** , by Rick Fuss — players start with five dice from a bag that contains six dice in each of six colors, and they take turns placing a rolled die in a 6x6 grid, with each number and color appearing at most once in each row and column, after which they draw a new die and roll it. If you can't place a die, discard one from your hand, then re-roll all of your dice, permanently reducing your hand size. Whoever last places a die wins. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Thomas Sing on the creation of his newest entry in The Crew game series

Designer Diary — The Crew: Journey to the Ends of the Earth

The Crew: The Quest for Planet Nine was released at the end of 2019 and was the first game in The Crew series. Even in my first test rounds in 2018, the game worked perfectly, and it felt to me as if I had found the game rather than invented it. That is something rare and gives you the feeling of having something truly special. All of this naturally created a strong desire for me to dig deeper and explore further. _The Crew_ was like a treasure that I was allowed to recover, and I was curious to see what I would discover as I opened the lid of the treasure chest further. 2 live __Crew__ s When I refer to "Crew 3" later in this article, I always mean the new _Crew_ game, The Crew: Journey to the Ends of the Earth. Back in 2019/2020, I wrote down everything I could think of pertaining to how to iterate on the original _Crew_ system, and many of those ideas are now found in The Crew: Mission Deep Sea (a.k.a., Crew 2) and in Crew 3. The development of Crew 3, therefore, actually began unconsciously many years earlier, even partly before Crew 1 was published. But for me, the question is always how to assemble the new ideas. The easiest option, of course, would have been to simply keep _The Crew_ gameplay and change only the story and the tasks. _The Crew_ gameplay in a nutshell is: * Read the story text aloud. * Place the task cards in the center of the table. * Choose the task cards. * Complete the tasks through a fully co-operative trick-taking game. * If all tasks are completed, move on to the next, slightly harder mission. * If a task is not completed, repeat the mission. When I talked with Kilian Vosse, my editor at KOSMOS, about a sequel to Crew 1, we realized that every new game needs both proximity to and distance from its predecessors. In Crew 2, I developed completely new tasks and integrated task difficulty into the gameplay, which gave the game enormous replayability — but to make Crew 3 something entirely its own, it was obvious that I had to redesign the gameplay from scratch. I decided there should be only one task for everyone to complete. The game now includes more than one hundred different tasks with varying difficulty levels. Before each round, you always choose between two tasks. The game is a race between our crew and time. When a task is completed, you move forward based on the task's difficulty. A difficult task will advance you further in the race than an easy one, while your opponent — time — always moves forward at a steady, slow pace. Another unique aspect of Crew 3 is that it is structured in stages, and your goal is to reach the end of a stage before the opponent. A stage, therefore, consists of completing several tasks. The advantage of this is that you can fail at some tasks as long as you don't arrive at the end of the stage after the opponent. That loosens the game up a bit and reduces some of the pressure of having to win at all costs. Thematically, I first conceived the game as a journey in the Himalayas, then as an adaptation of the race to the South Pole between Amundsen and Scott. In discussion with Kilian, however, we concluded that that event contains tragic and awful elements and would give the game a rather sad mood, which we did not want. Instead, we decided to embark on a world tour. Since each of my games is somewhat autobiographical, I started the world tour in Konstanz, Germany, where I was born and where I live. Konstanz lies right on the Swiss border, so it made sense to go to the Swiss mountains next, then Italy. The rest of the story features a cast of both familiar and more unusual locales. As the guide this hand, the Beat editor had a tough task: Pick their left- or right-hand neighbor to win precisely three green cards, while the other neighbor had to win more or fewer than three green cards. The catch? I couldn't say which neighbor was which. When the game was basically finished, in my opinion, I sent it back to Kilian, who had since received energetic support from his colleague Elena Gross. As you might expect, the two of them came back with a whole range of suggestions about what we should reconsider in the game. I always look forward to this final phase of game development. I have worked on all Crew games with Kilian so far. He is a clever mind, and I have seen firsthand in previous games that he often looks at things from a completely different perspective and can give the game a new drive.This time I had two editors at my side, and so there were a lot of changes. My heartfelt thanks go to Elena and Kilian for the inspiring collaboration. Fiore GmbH brought the game to life by illustrating the cover, cards, and logbook. It is wonderfully done and gives the game the perfect atmosphere. Many thanks to Fiore GmbH. So, that’s it. Now it’s your turn. I wish you all a lot of fun playing, and I very much look forward to your feedback. Tom Sing • • • • • • • • • • • • • • _The Crew: Journey to the Ends of the Earth_ launches mid-2026 at Gen Con at the KOSMOS booth #2605. The _Globetrotter_ mini-expansion will be available at the show while supplies last, free with the purchase of the base game, in addition to being available for the first five hundred people to pre-order _The Crew: Journey_ through Thames & Kosmos. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Different perspectives in how people approach games

Gaming: A Day in the Life

▪️ If you're curious as to what a day in the life of a board game designer/publisher might be like, Jason Tagmire of Button Shy Games has just the post for you. (I don't think I've played anything from Button Shy, but I enjoy Tagmire's posts about design the way that I enjoy video essays about movie production. More generally, I like learning about people solving problems while trying to make stuff. Any recommendations?) ▪️ In early May 2026, the research data and analytics group YouGov surveyed 1,131 U.S. adult citizens about their thoughts on board games. Some of the questions are routine, as demonstrated by this chart— —while others dive into specifics, as with one that asks how often respondents have played 33 board games. _Monopoly_ ranks the highest in the "played many times" category, with checkers and _Scrabble_ coming next. An excerpt: > Other games are less widely popular, while still familiar to much of the population. 13% of Americans say they've played mahjong many times while 50% have never played it; 10% have played _Risk_ often and 46% have never played it. > Even some of the most popular modern board games haven't been played by large majorities of Americans. 76% have never played Catan, 76% have never played Ticket to Ride, and 84% have never played Carcassonne. Flipping that around, that survey suggests that 18-19% of U.S. citizens have played _CATAN_ or _Ticket to Ride_ at least once and 11-12% have played _Carcassonne_ , _Wingspan_ , or _Azul_ at least once...which seems unlikely. (The numbers don't add to 100% due to "Not sure" responses.) The survey also divides these responses into age brackets, with 32% of respondents from ages 18-44 having played _Ticket to Ride_ , _CATAN_ , or _Codenames_ at least once, whereas only 5-9% of respondents aged 45+ have played any of those games. ▪️ The July 7, 2026 episode of the podcast _99% Invisible_ features a conversation between host Roman Mars and philosopher C. Thi Nguyen about Nguyen's book _The Score: How to Stop Playing Somebody Else's Game_. While I found _The Score_ rambly (my review) and disagree with Nguyen equating real-world metrics with scoring systems in games, the podcast distills his book into a 16-minute presentation, once you skip past the ads. ▪️ On _Boundless Play_ , Keith Stuart writes about why grown-ups should play video games. An excerpt: > We never worry that we're too old to watch films, listen to music, or visit the theatre or art galleries; it is not considered bizarrely immature to play chess or cards into old age. Why video games? The answer is longer than "Because we want to", but I hope that would also suffice as an explanation as you shouldn't have to justify an activity you do for enjoyment (as long as no one else is harmed in the process). This essay also relates to part of Nguyen's conversation during the _99% Invisible_ podcast. Nguyen mentioned that while working on the book, he got really into yoyoing and would talk about yoyoing at dinner parties only to receive stares of disapproval and bafflement from others at the table, as if they couldn't imagine why one would want to spend time on such a thing. For such situations, I suggest pulling out this Kurt Vonnegut quote from his book _Timequake_ : "Listen: We are here on Earth to fart around. Don't let anybody tell you any different!" • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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Whining might feel good, but it probably won't solve a problem

Unhappy? Contact the Publisher

Even if you don't play video games, you've probably seen the news that Sony plans to (1) discontinue "physical game disc production for all new games releasing on PlayStation consoles" as of January 2028 and (2) close "the PlayStation Store on PS3, as well as on PS Vita", worldwide as of July 2027. Both of these announcements dropped on July 1, 2026, and presented together they force players to confront a future in which new PlayStation games are available solely in a digital format _and_ support for digital purchases can be ended whenever Sony chooses to do so. What's more, on June 26, 2026 the PlayStation Store sent buyers a notice stating that "From September 1, 2026, due to our content licensing agreements, you will no longer be able to access your previously purchased content from Studio Canal [sic], and it will be removed from your video library." Thus, in addition to future digital purchases being dicey, past purchases can be retroactively undone. When announcing the end of physical discs, Sid Shuman, senior director of Sony Interactive Entertainment content communications, wrote: > This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends as the general preference for digital media significantly outpaces physical discs. This transition will enable us to align more closely with how most of our community prefers to access and play games today. Note that "general preference" invites questions. Does that mean 90% of buyers prefer digital to physical? 75%? 60%? If you look at Sony's consolidated fiscal report for 2025 (PDF), you can compare sales of digital software (1,055,688, with all values in this paragraph being in millions of yen) to physical software (125,106) and see that digital sales are roughly nine times that of physical sales — but that's misleading since sales of all game software were 2,641,023, with 1,359,617 of that being add-on content sold digitally and 100,612 of that being classified as "other software", which was not physical. In short, less than 5% of what Sony earns from game software comes from the sale of physical discs, so...why bother with those discs in the future? (What's more, in a presentation for its fiscal report, Sony noted that its "PlayStation platform now hosts over 125 million monthly active users around the world", and I imagine that steady customer base seems far more rewarding than one-off purchases.) ****Want more coverage like this?**** If you enjoy Eric’s mix of new-game reporting, industry observations, and convention-floor oddities, please consider becoming a paid member. Support starts at $2/month and helps keep Board Game Beat going. Learn more... Some video game publishers are already moving in the digital-only direction, such as Rockstar Games, which opened pre-orders on June 25, 2026 for both digital and physical versions of _Grand Theft Auto VI_ , while noting that the physical version will contain "a download code inside the box" — which means you're still buying a digital edition, but it comes wrapped in plastic for old times' sake. Many PlayStation owners have taken to social media to protest these changes, posting images of their physical game collections and vowing to avoid the console in the future should titles be available only digitally, whereas investors seem to view this move positively as the value of SONY stock has risen 8% on NASDAQ since June 26. (Obv. many other factors could affect this stock price.) I don't normally cover video games on the Beat, and I don't plan to start doing so, but board gamers have had complaints similar to those of PlayStation owners over the years, wondering how long an app-based board game will be playable before publisher support ends or lamenting a Golem Arcana buy-in on Kickstarter after seeing the studio shelve development a few years later. It's all well and good to complain about such things on BoardGameGeek and social media posts, but complaints mean nothing if sales remain strong. If you object to some aspect of a game release, I would argue that the only meaningful actions are to: * Not buy the product, and... * Contact the publisher to explain why you're not buying the product. Sure, you might also record a video, write an article, post on social media, etc. to try to drum up support for your position, but publishers need to hear directly from buyers, potential buyers, and non-buyers in order for change to occur in the future. I know from experience that while some (smaller) publishers have Google alerts for their name or look for feedback on Facebook and elsewhere, most publishers don't. They won't know that you're unhappy about a game unless you contact them directly, so please do that. Nothing might change in the publisher's plans — but if they don't hear from you, then nothing _will_ change. If, for example, you refuse to buy games that don't have quad-indexed cards, tell the publisher about this decision. Maybe they hadn't considered this an essential graphic design element before, but for the cost of $0 they can expand their future market. Refuse to buy a game without room for sleeved cards? Tell them. Refuse to back a publisher's project that features crowdfunding exclusives? Tell them. The same goes for complaints about purchased games: unclear rulebooks, colored pieces too similar, lack of player aides, tiny cards, components that don't work, poor quality cards — whatever the point of friction is that might keep you from purchasing that publisher's games in the future, tell them. The first step to addressing a problem is knowing it exists, at least for some segment of the potential userbase, so please do your part. • • • • • • • • • • • • • • Like what you read? Leave a tip to support independent board game journalism! Leave a tip

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