The Fox in the Forest predates the contemporary trick-taking craze by a few years. It was an early harbinger of what was to come, of the deluge with which we have subsequently been blessed, and it proved successful. Successful enough that now, almost a decade after its initial release, Joshua Buergel’s two-player trick-taking game is getting the Deluxe treatment.

For those who’ve never played, The Fox in the Forest distinguishes itself from the bulk of trick-takers in two ways. Way the first: all of the odd-numbered cards in this non-traditional deck have special powers that trigger when played. Normally, I try not to get bogged down in the weeds when reviewing a game, but I do think the powers here are illustrative: The 1 in each suit lets you lead the next trick even if you lose, the 3 lets you change the trump suit, the 5 lets you draw one of the cards that weren’t dealt that round before discarding any card from your hand, the 7 is worth a point for whoever wins it, the 9 is always considered a trump card, and the 11 forces your opponent’s highest card in the same suit.

If you are at all familiar with the ebb and flow of trick-taking games, you can imagine well the sorts of shenanigans…

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Cross Bronx Expressway, GMT’s third release in the Irregular Conflicts series, is not for the weak. It is exceptionally complicated, even by the elevated standards of a COIN title. A frequent refrain amongst the GMT faithful, and an accurate refrain at that, is that the rules aren’t all that complicated once you get over the hump of learning them. Not so here. For my first game, I gathered three of the finest gaming minds in New York City, all of whom had read the rules in advance, and it still took an hour or two to get things started. This is no doubt in part a function of the theme, the civic management of The Bronx across the latter half of the 20th century. It’s easier to keep rules in your head when they don’t use words like “coalition,” “partner organization,” and “Census Round Audit.” You may find yourself scratching your head and wondering why you didn’t go back to school to get an MB(oard game)A.

Work your way past the daunting exterior and you’ll find a game that is a fascinating mix of the exceptionally confrontational and the utterly inscrutable. Cross Bronx Expressway is a hard game to talk about as a game, in part because the gamic elements are relatively slight in view of the whole. Designer…

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I struggled with The Lord of the Rings: The Fellowship of the Ring - Trick-Taking Game. For all the inventiveness on display, as passionate a love letter to trick-taking as it was, Bryan Bornmueller’s commercial triumph left me cold. Too often, I said, that cooperative card game would leave players in the lurch, handing them combinations of characters and cards that were not winnable. Unlike its close cousin The Crew, something like half the hands in TLotR:TFotR-TTG proved unwinnable from the jump, save for an act of providence. I don’t want cooperative games to be easy, but I do want continuous losing to feel like a skill issue rather than RNG.

That’s the long and the short of it, anyway. And for what it’s worth, my criticisms of The Lord of the Rings: The Two Towers - Trick-Taking Game are almost exactly the same as my criticisms of the first game. Critical decisions are made without crucial information. A lot of hands are dead from the jump and there’s nothing you can do about it. A few of the chapters here even sharpen my criticisms. It would be easy to get bogged down in an even more negative review, to dig into all the ways in which I continue to think Bornmueller’s game doesn’t work.

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There was a point after my first lap around the South Africa track, one of the two new tracks in Heat: Rocky Roads, when I realized that it might be my favorite track in all of Heat. Nothing else in the extended Heataverse feels quite as rewarding of great play. South Africa isn’t as punishing of poor play or bad luck as España, nor is it a source of the same adrenalized fun that comes with ripping down the straightaways in Italia or Nederlands, but a skilled player in South Africa can do some incredible things. And for the record, I came to this realization while I was getting absolutely walloped.

What is it that makes the track so good? It isn’t the gimmick. The only special rule is that any player who finishes their move on a gravel space has to pay a heat if they have one. If you’re on gravel and you don’t have any heat, it don’t hurt you none. This is a perfectly fine addition to the game, one that will occasionally make you second-guess taking advantage of an opportunity to slipstream, but it doesn’t add so much to the game that it would change the feel of an entire track.

It’s the corners. South Africa is jam-packed with delicious, surprisingly slow corners, and…

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Aeon’s End: The New Age - Andrew Lynch

Indie Board & Card Games took their foot off the gas just a little with The New Age, by which I mean it isn’t nearly as punishing as War Eternal. The New Age introduced Aeon’s End’s campaign system, which would become de rigueur for their future releases, and those of us who’ve played Aeon’s End before will know that that’s a mixed blessing. The constant injection of new cards and powers is great, but the writing…well. Nobody plays Aeon’s End for the quality of the writing. You win some and you lose some. If you play Aeon’s End enough, you’ll lose quite a bit, in fact.

Ease of entry?
★★★★☆ - The odd bump or two
Would I play it again?
★★★★☆ - Would like to play it again

Read more articles from Andrew Lynch.

Kraken Skulls!  - Kevin Brantley

Kraken Skulls! puts 2–5 players at the helm of a pirate ship, chasing the most fame to become the king (or queen!) of the pirates.

Players bounce between a random selection of dice mini-games (via cards) laid out in a circle, mixed with open-water cards that house the dreadful…

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In the midst of Suzannah Herbert’s tremendous documentary Natchez, religious fundamentalists stage a Westboro Baptist–style protest outside an LGBTQI+ event. They stand there with their signs, decrying sin and the fate of the wayward souls inside. One man reads scripture into a megaphone, citing chapter and verse to support his belief that the drag queens emceeing will go to hell.

For some reason, it struck me in that moment as particularly absurd that this man was citing documents written over 2,000 years ago to explain his beliefs now. Well, “to explain” is wrong, and I even think “to justify” wouldn’t quite get across what I felt. I believe in and understand the power of citing the Bible as a collection of parables to relay lessons, questions, universal experiences. This man was not doing that. He was quoting the best-selling book of all time as edict. Those dusty old words were why he is presently required to believe that gay people will go to hell.

To that man, and those around him, the text of the faith is the faith. It is the destination, rather than the compass. To him, the scripture can neither change nor can it be changed. It is unyielding, unsparing, unimpeachable. Some words written down over two millennia ago are to be followed to the letter…

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Operation Barclay is one of the most inspired marriages of setting and mechanic that I’ve ever had the pleasure of experiencing. How did designer Maurice Suckling get the idea to pair the story of Operation Barclay, the Allied plan to feed the Axis false information about an upcoming Mediterranean invasion, with poker and a shell game? It’s such a remarkable idea, such a perfect idea. Most game designers would sacrifice body parts in exchange for an idea this good.

While the real Operation Barclay was about convincing the Axis that the Allies would invade Greece when they were in fact planning to invade Sicily, Operation Barclay the game gives us a bit more ambiguity than that. There are five possible areas of attack, stretching from Morocco-to-France and Egypt-to-Turkey. The Allied player places wooden Intelligence tokens into each of them. One lane, whichever the Allied player decides to make the Primary Offensive Sector, gets four positive Intelligence tokens and one negative. The Secondary Offensive Sector gets three of the first and two of the second, and the other three Sectors, red herrings all, get two and three.

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Neuroshima Hex has known three previous editions, each ultimately widening the pool of available factions and improving on what was already a very good design. Now, on the occasion of its 20th anniversary, publisher Portal Games has rebooted the line again. Blessed are we who live to see such times. Finally, you can own a base set of Neuroshima Hex with a box that doesn’t look like absolute butt. Aesthetics was never the point of all this, but goodness.

Inside that box, you’ll find four factions’ worth of tiles with which to play this marvelous game. Do the tiles look better? Listen, there are limits to what you can manage when designing a game that has to convey a large amount of information in a small amount of space. Do the tiles look good? No. Do they look bad? No! They’re a miracle of legibility. Don’t worry about it.

The basic idea is pretty straightforward: on your turn, you draw up to three tiles, discard one, and then play, discard, or save the others. Your tiles are a mix of Troops that attack and hinder your opponent, Modules that provide buffs and debuffs to the pieces on the board, and Actions, which can do all variety of things depending on the faction. As the game progresses, the board gets…

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Muster: Raise the Banners, from designer Spencer Lloyd Thomas and with vibrant art from Pedro R. M. Andreo, is a quick little two-player lane battler. Each turn, you play a single card to its matching lane, or discard a card onto one of the central spaces, then draw a card. The catch is that the cards have to be played in ascending order. If I play the mighty green six early in the game, I can’t play any more cards to green.

This may sound familiar to some of you. It certainly did to me. Muster draws a whole heap of inspiration from Reiner Knizia’s 1999 masterpiece Lost Cities, one of the greatest two-player games ever published. I don’t knock Muster for that, and you shouldn’t either. It adds some flair of its own, like the two-sided wild cards that can be played in conjunction with other cards, and the Rainbow cards, which can be discarded to any center slot to open up that particular lane to cards of any color.

This is a great idea. It means that you never quite know when a lane is done. I…

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There’s quite a bit about Castle Nightingale to catch the attention of the discerning gamer. That box, with its palette of dark blue and warm orange, stands out on a shelf. As you get closer, the colors organize into three mangy cat ninjas and a game red panda samurai, all charmingly rendered by Vincent Dutrait. That one cat making eye contact more or less dares you not to be interested. As you pick up the box, which you inevitably will, you might notice the “B. Cathala” listed alongside co-designers Eliette and Jérémy Fraile. Only then might you notice the logo in the lower left corner.

You don’t often get to say, “Sand Castle Games has a new game out.” Prior to Castle Nightingale, you’d have said it twice. There was the 2019 release of Res Arcana, and the 2022 release of First Empires. Three games in eight or so years—I’m including production work on Res—is a slow, considered pace. And to think that people used to marvel at Days of Wonder’s approach of only one title a year.

Even if they only have a 50% hit rate, Sand Castle’s pace suggests that they only release the games they really want to release. It’s clear from their production choices that they pour all of their attention into each…

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Concerning Formatting

Before we begin, we should discuss formatting. Meeple Mountain’s house style is to italicize the names of games. Arcs, Catan, Kabuto Sumo: Sakura Slam. This is not contentious. They are, after all, titles of authored works, and deserve the grammatical demarcations befitting their status. When it comes to classic, authorless games such as chess and checkers, there is a schism within the church of Meeple Mountain. Some believe they should be capitalized too, but this has (as evidenced just now by my flagrant disregard for the house style) never sat well with me. Chess has no single author. “Chess” is a name, but it is not a title, and the dominant English convention is to neither italicize nor capitalize it.

The same is true of most traditional games, a number of which will be discussed in the article that follows. Cribbage, oh hell, solitaire, koi-koi, and canasta will come up, but they will only be capitalized if they happen to begin a sentence, and they will only be italicized for the purposes of emphasis. This would not be worth explaining if this article did not also cover French Tarot and scopa.

You see the issue.

“French Tarot” is generally capitalized in English in order to separate the card game (French Tarot) from the deck with which that card…

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I have more than once mentioned puzzle-maker extraordinaire Blaž Gracar's work in the same breath as releases from Rush Hour purveyor Thinkfun. I have rarely mentioned them together as a matter of direct comparison. These are different products for different audiences. Gracar makes pencil-and-paper puzzle books that are only for the sweatiest adults, while Thinkfun cranks out charming toyetic brain teasers that keep children well-and-truly occupied. The connection comes from Gracar’s gift for imbuing his puzzles with a sense of discovery that brings me back to my childhood, when I had a massive collection of Thinkfun games under my bed. With the release of Herd, Gracar’s publisher Letibus and Thinkfun now warrant direct comparison.

Rather than drawing lines or shading in boxes, Herd has you shifting Shepherds around a grid. These delightful, hollow black cones have wonderful neutral facial expressions and a pronounced indifference to your failures. It’s a good thing, because in trying to get them from a designated Point A to a designated Point B, you will fail often. And fail. And fail again.

Herd is a patient exercise, though I wouldn’t necessarily call it meditative. There is a flow state to be found in moving the pieces about,…

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For many years, my dear friend and former roommate had a cat named Eilonwy. He —this may confuse some of you, but I promise that Eilonwy was a “he”—was a wonderful cat, with many admirable qualities, but he could not be left unsupervised with water. He could not be left supervised with water, for that matter. Any vessel containing water that was left on a surface he could reach would soon find itself right off. Had they ever met, Eilonwy would have provided Sir Isaac Newton with many an opportunity to raise his eyebrows, tilt his head slightly, and mutter, “See?”. We lost many a glass and many a mug in this way.

It was never malicious. He wasn’t making a statement, it wasn’t some sort of anti-Narcissus performance piece. Eilonwy simply could not help but bat at the surface of the water, and to do so with such vigor that its container would edge closer and closer to disaster. It became a part of the rhythm of the household: the occasional crash, the frantic dash of startled paws, a shouted, “Damnit, Eilonwy!”

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I spent a measurable percentage of my childhood doing puzzles. If we were in the car, I was probably doing a puzzle. Visiting one of my mom’s adult friends? I was doing a puzzle. A long flight? Oh, you better believe there were puzzles, though they were interrupted by bouts of reading. A short flight, though, that was puzzles all the way up and all the way down. The puzzles could take many forms, be they crosswords, logic puzzles, or ThinkFun (née Binary Arts) toys, but they were a consistent mainstay of how I spent my time.

That’s still true today. I adore a good puzzle. Sign me up for an escape room. I spent much of the first year or so of COVID getting into advanced forms of Sudoku. For months now, I’ve been dutifully starting each day with Clues by Sam. When Blaž Gracar’s LOK hit a couple of years ago, I couldn’t wait to get my hands on it, and my excitement was well-rewarded. That puzzle book was like nothing else I’d ever seen. The puzzles were satisfying…

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It’s easy, I think, to take a game like Duel for Cardia for granted, especially if you spend as much time in the board game trenches as I do. Faouzi Boughida and Mathieu Rivero aren’t doing anything exceptional here, by which I mean they aren’t doing anything that stands out if you’re constantly deluged with new game designs. Duel for Cardia isn’t flashy, and it isn’t trying to break new ground. It’s easy to underestimate a game that’s simply doing the work. I think I made this comparison a few years ago, but I will come back to it: Duel for Cardia is the board game equivalent of a good studio picture from back when studios were content to make $35 million on a film with a budget of $10m.

By that I mean, it is competently designed, charming, successful, tense, and you could play it with just about anyone. Both players start with an identical deck of 16 cards, draw a hand of five, and simultaneously reveal one. You can think of this as a lane battler with up to 16 single-card lanes if you want; you wouldn’t be far off the mark. The player who reveals a higher-value card wins a Signet. The player who reveals a lower-value card gets to activate their card’s ability. This process…

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At this point, it feels impossible to write about The Old King’s Crown without grappling in some way with the sustained level of hype that it has produced over the last year. Pablo Clark’s ambitious entrée into the world of board games, this lane battler on steroids, has made a big splash. How big that splash is, exactly, is hard to measure, but the small board game café where I work gets a call about once every two-to-three weeks asking if we have The Old King’s Crown in stock. This is an ungainly mess of a game, an initially unwelcoming and overwhelming thing. Catan this is not. For The Old King’s Crown to break hobby containment would suggest a Blue Whale has just surfaced.

These are not, in full transparency, my favorite reviews to write. I prefer unexpected surprises to the heavily foreshadowed. If a game has too much momentum behind it when it reaches your door, your only choices are to be bowled over or to step aside and let it pass you by. I don’t want to get caught up in the current of excitement, nor am I interested in writing a reactionary takedown.

Fortunately, life conspired to keep me from playing my review copy of The Old King’s Crown for quite a bit longer than anticipated.…

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JOYRIDE DUEL: Next Gen is a bit of an oddity. It is marketed as the Mario Kart of racing games. That promises a certain amount of chaos and, indeed, chaos is what JOYRIDE DUEL has in mind. Rather than a fixed track, with the boundaries and prescribed routes such a thing necessitates, the board is open-world, with numbered gates you have to pass through in a particular order. There are exploding drones and flash grenades, oil slicks and mines that can be picked up on the track or acquired every time you pass through certain gates. The rules contain copious amounts of information concerning the collision of vehicles. Whether it’s a head-on or a side-swipe, you’ll know exactly what to do. The player dashboards have slots for damage, which slowly builds up and incapacitates your vehicle over the course of the race.

With all of these features in place, you too would assume chaos is the special du jour. Yet JOYRIDE DUEL is a surprisingly staid experience. Using a number of dice dictated by the gear you’re in, you zoom around the track, take corners, set up trajectories, and do your best to make it to the end, but it’s all much less dramatic than you’d expect. Across three races, I never added more than one or two pieces…

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I couldn’t tell you when I first heard about Neuroshima Hex, which was originally published in 2006 and predates my time in board games by just about a full decade. At some point, though, Michał Oracz’s tactical tile-layer set up camp on the periphery of my awareness, built a large fire, threw on a stew, and did the only thing it had to do: wait.

My interest in Neuroshima Hex was inevitable. The only trick? I couldn’t find a way in. There are several editions, and oodles of expansions, and it all made the game a bit daunting. Publisher Portal Games seems to recognize that themselves, so for the game’s 20th anniversary, they announced not only a new edition of the base game, but Neuroshima Hex: Battle, a starter box for two that lets the curious among us give the game a try without going all-in. $25 isn’t much in exchange for scratching a perpetual itch, is it? I couldn’t say no.

The sum of Neuroshima Hex takes place in a post-apocalyptic world in which various factions are at war for resources and supremacy. You know, that kind of thing. Each player chooses a faction and its corresponding deck of tiles, then goes about attempting to systematically obliterate their opponent. The decks are made up of varying combinations of…

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I enjoyed my time with Corps of Discovery Duo, Joy Cormier and Sen-Foong Lim’s two-player version of Corps of Discovery. Or, at least, I would have told you I enjoyed it. I certainly had a nice time playing this cooperative deduction game for two. But when it came time to write this review, I found I didn’t have much positive to say at all.

It feels unfair, but it also feels right. Prior to writing about Corps, I had been having an excellent day, so I know I wasn’t moody. I even re-read this draft after taking a nice walk. I gave myself a little treat. I hydrated. I took a nap. When I returned, I found that I couldn’t argue with anything I’d written. Corps of Discovery Duo did not work for me in any meaningful sense.

As Lewis, Clark, Sacagawea, or York, two players have to work together to map their way west. In practical terms, this is done by playing cards with one of ten different items on them out onto the table, following both public and hidden rules for each item while doing so.

Here we hit our first bump. Why are we arranging items? Why aren’t…

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I approached Telephone in a dark, isolated room, far from where prying eyes might see us and ears might hear us.

“Telephone, I’m going to make you deal.”

He didn’t say anything. I knew he wouldn’t. Telephone had survived in proximity to the Supreme Socket by being a good listener. I took a drag from my cigarette, its red light dimly reflecting off the gold accents on the walls.

“Neither of us are replacing the Supreme Appliance. You know it and I know it. We don’t have to like it, but we have to face the facts. You’ve turned too many people off, and I...”

“You’ve burned too many people.”

“In a manner of speaking.”

A long pause. Not even a dial tone. He really knew how to draw you out.

“We both like Toaster,” I ventured.

“In a manner of speaking.”

“We both know how to handle Toaster.”

“Sure. I know how to keep my bread from getting burnt.”

“Blender and Radio are disorganized and at one another’s throats. Let them waste their energy. If we work together to back Toaster…”

“It works out better for both of us.”

“Exactly.”

“I see your point. You have a deal.”

For now, at least. So it goes. A temporary truce is better than a permanent war. I turned to leave.

…

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