You love board games. You probably also like music. Let’s combine the two into an immersive playlist for Imperial Struggle (Ananda Gupta/Jason Matthews, GMT Games). Have it gently play in the background during your next session of Imperial Struggle for the full period immersion!
First things first: Here’s the playlist!
Before we dive into the content of the playlist, some general observations:
Of course, there was no music recording in age of Imperial Struggle, so all the songs in the playlist have been recorded in the 20th or 21st century.
The playlist is only 1:45 hours long, so you might need to listen to it several times during your game… unless France stomps over Britain in the first turns.
The playlist is thematically sorted. That helps you find similar songs, but makes for somewhat monotonous listening (until you come to the next group of songs). I therefore recommend you turn shuffle on.
Now, what awaits you in the playlist?
#1-3: Religious (classical) music
Imperial Struggle begins after the age of the great confessional wars in Europe, but religion still played an important role in people’s lives, from the lowliest peasants all the way up to kings. Their week culminated in a Sunday service and their year was interspersed with religious events. Composers wrote pieces specifically for a religious holiday (like Bach’s “Christmas Oratorio” from which #2 is taken), or were dedicated to comprehensive religious teaching (like Händel’s “Messiah”, premiering on Easter 1742 in Dublin, from which #3 is taken).
#4-12: Secular (classical) music
The Baroque saw music as universal. Religious and secular followed the same conventions, and thus the same composers wrote pieces for the church and for worldly courts, like Baroque grandmaster Johann Sebastian Bach (Toccata and Fugue in D minor, #4 and Cello Suite No. 1 in G Major, #6) or Georg Friedrich Händel (Sarabande from Suite No. 11, #5). The classical (in the narrower sense) music from the mid-18th century on left this universal view behind. Composers now focused on either one or the other, with most of them following the more fashionable and more lucrative secular path.
Some composed for a court whose lavish entertainments always required music (like the 1773 wedding of the French prince Charles Philippe, the later king Charles X, for which François Francœur arranged the music from which #9 is taken – thus the title Symphonie du Festin Royal (Symphony of the Royal Feast)). Others became freelance musicians (like Mozart, who could (for some years) live of the proceeds of his concerts and operas, #10-12).
#13-16: Folk songs
Not everyone went to a church where the latest compositions were played on Sundays, and of course most people were far removed from attending any court festivities, let alone royal weddings. But people made and listened to music. The easiest, most affordable way to do so was to sing. The 18th century is rich with folk songs, some originally written at the time (like Frère Jacques (“Brother James”), #15 or “Ye Jacobites by Name”, #16), others older, but first put down to paper at the time (Au Claire De La Lune (“By the Light of the Moon”, #13, and Over the Hills, and Far Away (#14)).
#17-23: Patriotic songs
We’ve heard in #16 already how political events seeped into popular songs. Others were written specifically to rouse patriotic feeling, an emotion which came into its own in the 18th century: “Rule, Britannia” (#17) expressed confidence and pride in the Royal Navy to protect British freedoms, “The British Grenadiers” (#18) praised the courage of their counterpart by land.
That these songs could be re-interpreted and turned against their original intent shows “Free America” (#19), written in 1770, which uses the same tune as “The British Grenadiers”, but its lyrics extol America’s freedom (which turned out to be freedom from Britain).
Finally, national anthems also came first into existence in the 18th century: Brits sang “God Save the King/Queen” (#22 – I took the liberty of choosing a not-quite-traditional version). France only got its first anthem (La Marseillaise, #23) with the French Revolution which bookends Imperial Struggle… at least until Ananda Gupta and Jason Matthews get around to do a Revolutionary and Napoleonic Wars expansion!
You love board games. You probably also like music. Let’s combine the two into an immersive playlist for Imperial Struggle (Ananda Gupta/Jason Matthews, GMT Games). Have it gently play in the background during your next session of Imperial Struggle for the full period immersion!
First things first: Here’s the playlist!
Before we dive into the content of the playlist, some general observations:
Of course, there was no music recording in age of Imperial Struggle, so all the songs in the playlist have been recorded in the 20th or 21st century.
The playlist is only 1:45 hours long, so you might need to listen to it several times during your game… unless France stomps over Britain in the first turns.
The playlist is thematically sorted. That helps you find similar songs, but makes for somewhat monotonous listening (until you come to the next group of songs). I therefore recommend you turn shuffle on.
Now, what awaits you in the playlist?
#1-3: Religious (classical) music
Imperial Struggle begins after the age of the great confessional wars in Europe, but religion still played an important role in people’s lives, from the lowliest peasants all the way up to kings. Their week culminated in a Sunday service and their year was interspersed with religious events. Composers wrote pieces specifically for a religious holiday (like Bach’s “Christmas Oratorio” from which #2 is taken), or were dedicated to comprehensive religious teaching (like Händel’s “Messiah”, premiering on Easter 1742 in Dublin, from which #3 is taken).
#4-12: Secular (classical) music
The Baroque saw music as universal. Religious and secular followed the same conventions, and thus the same composers wrote pieces for the church and for worldly courts, like Baroque grandmaster Johann Sebastian Bach (Toccata and Fugue in D minor, #4 and Cello Suite No. 1 in G Major, #6) or Georg Friedrich Händel (Sarabande from Suite No. 11, #5). The classical (in the narrower sense) music from the mid-18th century on left this universal view behind. Composers now focused on either one or the other, with most of them following the more fashionable and more lucrative secular path.
Some composed for a court whose lavish entertainments always required music (like the 1773 wedding of the French prince Charles Philippe, the later king Charles X, for which François Francœur arranged the music from which #9 is taken – thus the title Symphonie du Festin Royal (Symphony of the Royal Feast)). Others became freelance musicians (like Mozart, who could (for some years) live of the proceeds of his concerts and operas, #10-12).
#13-16: Folk songs
Not everyone went to a church where the latest compositions were played on Sundays, and of course most people were far removed from attending any court festivities, let alone royal weddings. But people made and listened to music. The easiest, most affordable way to do so was to sing. The 18th century is rich with folk songs, some originally written at the time (like Frère Jacques (“Brother James”), #15 or “Ye Jacobites by Name”, #16), others older, but first put down to paper at the time (Au Claire De La Lune (“By the Light of the Moon”, #13, and Over the Hills, and Far Away (#14)).
#17-23: Patriotic songs
We’ve heard in #16 already how political events seeped into popular songs. Others were written specifically to rouse patriotic feeling, an emotion which came into its own in the 18th century: “Rule, Britannia” (#17) expressed confidence and pride in the Royal Navy to protect British freedoms, “The British Grenadiers” (#18) praised the courage of their counterpart by land.
That these songs could be re-interpreted and turned against their original intent shows “Free America” (#19), written in 1770, which uses the same tune as “The British Grenadiers”, but its lyrics extol America’s freedom (which turned out to be freedom from Britain).
Finally, national anthems also came first into existence in the 18th century: Brits sang “God Save the King/Queen” (#22 – I took the liberty of choosing a not-quite-traditional version). France only got its first anthem (La Marseillaise, #23) with the French Revolution which bookends Imperial Struggle… at least until Ananda Gupta and Jason Matthews get around to do a Revolutionary and Napoleonic Wars expansion!
I saw many new games, but I suspect that most (or all) of them are easily skippable. It did warm my heart to see a bunch of “Play this new game, let us know what you think, and you might win a copy” going unplayed, because they didn’t seem any good at a glance.
However, one game that did catch my eye is Giants Moving Tiny Furniture, which has a bunch of small cute furniture and you (and team-mates) have to move around on top of the box. I only watched ten seconds, but it seemed like a delightful idea, sort of like a pop-art Jenga. From glancing at the BGG page, after I left, it sounds like Welcome to the Dungeon (which I haven’t played but picked up a copy at the bazaar) where there are things to do and you bid on less and less time (etc) to finish it.
Oh, and you have to use only your pinky? In teams?
I arguably could have played more games, but 2 days is enough for me.
Update — More Thoughts
There were quite a few new “ginormous overproduced games” being played. (At least) one of which was being promoted by the creator/designer/publisher, but they just all gave off the feel of “You wouldn’t look at this twice if it was cardboard chits, and it you shouldn’t look at it twice just because it doesn’t.” There were a number of boxes that looked to be a cubic foot (roughly). Just hulking square boxes taking up space.
Amusingly, one of those was … Food Chain Magnate Deluxe Edition! But that box at least still has the retro 50s artwork that might make people take a second glance instead of “Pew Pew Space-ships!” or whatever. I keep saying I need to put FCM back into my bag (although the new Indonesia is getting good reps this last month), but I’m happy with the old edition, which takes half the space even if I bring the expansion box.
Speaking of “Cool!” (that is in fact, not). The organizers piped in “Geek Music” to the venue. By which I mean …. Movie Themes. Oh, its the Imperial March! Lord of the Rings! Harry Potter! Superman! I may be in the minority, but I hate that. The music is fine, but two days of that got old quick. If people want music, they’ll bring it themselves.
It would be rude if I took out my air pods and played X music on speakers because I thought it better fit the mood (whatever that was), unless I asked everyone. Normally I would have just moved away to a quiet area, but the open gaming was pretty much right up against the speakers. The local game store also does it, and I get it for a game store, where most people are wandering in and spending a few minutes browsing (or playing games for a few hours)23, but for two days it gets old fast.
I believe that I read somewhere (probably in Why we Buy by Paco Underhill), that piped in music does lead to more sales, and stores often carefully curate their sounds. So that makes sense even if I personally hate it. But a convention is a pre-sale buy a ticket thing. ︎
Although now that I realize that Underhill makes his living on consulting for this kind of stuff (coupled with the replicability study in psychology) I wonder if that is in fact true, but I suspect enough companies have A/B tested the hell out of that to verify it. ︎
On a lovely sunny summer's day, we decided to go out together as a family. We wanted to see mice, shrimp, hedgehogs, fish, foxes, seals, lions, polar bears, crocodiles, elephants and orcas, but we wanted to avoid mosquitoes. So we all went to Frank's Zoo by Frank Nestel from Heidelbär Games with art by Doris Matthäus.
This is an interesting game set on the island of Shikoku, this is a more little bit more complex game than the original Tokaido but it is actually still a fun light game. This has a more in depth map than the original game has and the complexity is in how you use the extra two figures you each have to get the most out of your play. As I have stated unlike the original game each player has three tokens to move and play (a pilgrim an artist4 and a merchant) and a number of zones to do so, they include four mountain towns while the outer zones include temples, gardens, seashores, coastal towns and hot springs.
The aim of the game is points collecting. You collect points in a number of ways and work out at the games end who has won. As in the original you can’t land on an already occupied space so that can be annoying!
Survive the night with your The Bloody Inn rules summary!
If there’s one thing that attracts me to a new game it’s a distinctive theme. Based on the true story of L’Auberge rouge (The Red Inn), where in 1831 the inn’s owners were guillotined for multiple murders, not to mention other dark deeds, The Bloody Inn is a great game that mixes dark humour with European gothic.
Definitely not the same old themes here then! Players are family members competing to make the most francs by hosting guests at the inn – though it’s far more profitable to just murder the guests and bury them somewhere in the yard. And you will have to bury them, because leaving bodies around is a sure way to get nabbed by any police that show up at the inn, though you can always bribe the local gravedigger to get rid of the evidence at the last minute.
There’s a lot going on here for a card game, but thankfully the cards fulfill multiple roles. You’ll discard cards to pay for accomplices, all of which have particular specialisations – bribing other characters, murdering guests, building annexes to bury the corpses under, and burying the corpses. But you’ll have to keep paying them to keep using them (though a couple of peasants will work for free, they’re discarded at the end of each round). To juggle this bunch of actions efficiently you’ll need to plan ahead, because you only get a stingy two actions per round. And this is where the real challenge kicks, in, because getting the cards to help you do those actions cheaply and actually doing the actions, is a tricky balancing act. On top of that, there are only so many francs you can accumulate before you’ll have to pass a turn and launder some of it into 10-franc cheques.
The Bloody Inn is one of those games where you always forget the rules each time you play it, so this rules summary should prove very handy for picking it up again quickly. But it’s always an entertaining game and its dark theme is played completely for laughs, like a 1970s comedy horror film. It’s all enhanced even further by the addition of The Carnies expansion which adds three modules to the game, including a bunch of disreputable folk from a travelling carnival.
Despite being a huge aficionado of horror cinema, I got around very late to watching The Texas Chainsaw Massacre – too late really, as unfortunately the transgressive, dangerous aura it had when I was young had long rubbed off by that time. This can happen as I finally get around to watching a few films that were once deemed ‘video nasties’, long past the cultural zeitgeist they were born in.
A lot of people would consider it their favourite horror film however, though my taste runs to the fantastical rather than slashers. Be that as it may, this board game version by the sadly defunct Prospero Hall studio could become a tabletop favourite. It’s a tight, lean, enjoyable horror romp in the old Sawyer house that nails its theme and provides lots of (nervous) laughs and tension alike.
One player plays the unhinged Sawyer family, the others the ‘trespassers’ – the clueless young people who stumble across the house and quickly learn the error of their ways. Most actions as a trespasser carry the risk of generating noise tokens that you may have to hand over to the Sawyer player as fear tokens, who can use them to power their actions. Not an original mechanic – The World of SMOG does something similar – but it works perfectly here.
The Sawyer player starts with just one character, but as the panic meter (a big cardboard chainsaw) increases, more characters emerge, culminating in the appearance of good ol’ Leatherface himself. At which point the trespassers are really in trouble. And while the trespassers can quite easily be killed (a clever system of drawing 4 different injury cards), attacking the Sawyers only reduces their number of actions. Everything reinforces the cat-and-mouse feel of the gameplay, as the trespassers uncover horror tokens throughout the house and can briefly hide in rooms for a brief respite from pursuit. The basic rules system is enhanced by several scenarios with different goals, plus a very simple legacy system that adds item cards left behind by previously killed trespassers to the common item card pool.
Unusually, there are no win conditions as such – the goal is simply to survive, which is thematic and all, but raises questions if one player is playing 2 trespassers, and 1 escapes – is that a win, or do you keep playing? One of the game designers told me players can come up with their own ideas about success, and that the goal was to make a game that felt like a horror movie. Which is fine, though this is still a game … anyway, it’s a small issue. There are also some omissions in the rulebook, but all that is fixed in my summary.
Overwhelmingly however, this is a huge success and a fitting swan song for the creative people at Prospero Hall, all of whom, I hope, are still gainfully employed in making more games that blend theme and gameplay with such success.
Day One’s entry is For Sale …. um, ok. It’s a fine game and all that; but I have no idea why it is a game that “made meaningful contributions to the board game hobby in the areas of innovation, artistry, and impact.”
Day Two is Puerto Rico … OK, this is the “We didn’t put this in the initial class for the reasons you expect, but we are putting it in” day.
Day Four is Love Letter … I like Love Letter and I think it’s a good game. I think it’s a bit wild that a small game from 15 years ago is in before …. lots of other games.
I’ll update this post as I notice the games this week (assuming I do).
Five months have passed since my original review of The Old King’s Crown. While the outside has grown colder and darker with winter, the inside is a different story. My appreciation for Pablo Clark’s ambitious game of throne-seeking has ignited. It’s stuck with me, claiming a seat in my top 10 of the year and…
The sun rises over the misty fields near Nagashino, glinting off armour and steel. The Takeda banners flap in the wind, a warning to the Tokugawa warriors holding the hilltops. Every decision counts, every step could tip the balance of power. As the leader of your clan, Takeda, you are seeking to reclaim glory and lead your samurai through the chaos. Now is the time to win this sandwich chess, this Hasami Shogi from Lemery Games.
This game was brought to my attention by a great review on Charlie Theel’s Player Elimination website, and as usual, Charlie didn’t steer me wrong (well, there was that Fate of the Fellowship review, but there’s always an exception to the rule). City of the Great Machine is one of those rare games I like so much in which mechanics and theme are inextricably intertwined.
It’s a one-vs-many struggle set in a steampunk city dominated by a mechanical overlord – sort of George Orwell meets H. G. Wells. Players are Revolutionaries trying to inspire citizens to riot against oppression; the Great Machine has time on its side and a legion of automata to quell the dissent.
City of the Great Machine blends hidden movement, resource management, and asymmetric gameplay in a wonderfully thematic package – and it can also be played solo or co-operatively. It’s a stunning production with an excellent artwork, a well-written rulebook and comprehensive support material, and some very nice miniatures as a bonus. I enjoyed this at 2 players, but I’m very much looking forward to to playing this at a higher player count so players can scheme amongst themselves in the presence of the Great Machine (the rulebook expressly tells you to refer to players as Revolutionaries or the Great Machine, in one of many thematic touches). And, dare I say it, its theme of revolution against autocratic technology is more relevant than the glossy layer of steampunk initially leads you to believe.
There’s a wealth of strategic material in the rulebooks, but this summary distills the rules into an easily digestible few sheets. And of course, it’s available on my app, Tabletop Codex!
Happy new year, everybody! I hope it will bring you much joy. I also hope it will bring you board games (which is basically the same thing). The question is, however: Which games? – Here are a few 2026 releases which look most intriguing to me. Long-time readers of this blog will notice that this year’s list is a bit longer than usual – there are just so many fascinating games scheduled for release this year!
As always, don’t take this as a shopping list (neither for you nor for me). Your taste in games and your discretion how many new games you want to chase decide what will end up in your shelf (and, hopefully, on your table)!
After that reminder, on to the games. As all of them are set in human history, they are ordered from most ancient to most recent.
Once the greatest Roman politician-generals outgrew to confines of the republican power-sharing agreement, the Republic was bound to fall. Yet it was not predestined that it would fall to Caesar. In fact, two of his associates/rivals, Pompey and Crassus, might as well have taken the diadem… if they had played their cards better.
Triumvir casts its players as the three mightiest power brokers of the last years of the Roman Republic. They will attempt to parlay their wealth, popularity, and military force into political success (in an adaptation of the negotiation mechanic from Engelstein’s and Herman’s previous cooperation Versailles 1919). Whoever settles the issues in the senate in their favor and deals best with the challenges in the rebellious provinces is poised to become the First Man in Rome…forever.
I have a fondness for the early modern period, this time when so many old certainties in Europe were shattered by revolutionary new developments – from the printing press over the discovery of America to the Reformation.
Neither King Nor God focuses on the struggle over military, religious, and commercial supremacy in Western Europe, with the Pope, the Holy Roman Emperor, and the Kings of England and France as the four protagonists. The players will send their courtiers to the big cities of Europe. These courtiers range from merchants over generals to assassins, each with their own action, forming a neat stack in each city. Once all courtiers are placed, each city’s courtier stack is resolved top to bottom – so, the last courtier placed is the first one to resolve! There are a lot of tactical considerations involved in which courtier you’d like to trigger early or late, and as they are placed face-down, also a good deal of bluffing.
I had the opportunity to play Neither King Nor God at last year’s SPIEL in Essen. Our Holy Roman Emperor attempted to spread Protestantism in Germany and waged war against the Pope for control of Venice, while France and England expanded their commercial networks on the continent and clashed over Normandy. Everyone had a great time!
The limited pilot edition of Neither King Nor God can be ordered for € 69.00 and will be shipping in mid- or late January. Sound of Drums aims to have the full epic edition ready for SPIEL in October 2026.
The European revolutions of 1848/49 are generally considered failures. After all, the ancient régimes had returned to power everywhere but in France, and even there the Second Republic was soon overthrown by Louis-Napoleon Bonaparte. Yet for months it looked like all of Europe could shed the old order in favor of liberalism, nation-states, and maybe even – gasp! – democracy. And even when the revolutionaries were defeated, they had changed the way the game was played: From then on, politics was conducted in public, with parliaments, parties, and newspapers, and the forces of liberalism and nationalism had to be taken into consideration by even the most conservative of monarchical governments.
Despite the impact of the revolutions, barely any games have covered them. Jules Félisaz’s 1848 seeks to rectify that in an ambitious manner, covering the political, military, intellectual, and social dimensions of the revolutions in all of Europe. Félisaz relies on a mix of tried-and-true CDG mechanics – the “mandatory opponent events” from Twilight Struggle, the spatial layout of societal groups from 1989, and the escalation through decks from Paths of Glory, adding its own twists where appropriate (for example, overlapping scoring regions based on nationality (German, Polish, Italian…) and empire (Russian, Prussian, Austrian).
Let us not say there are only wargames on this list. Look, here’s a peace game!
Making peace is generally a complex business, and so it was in the case of the Russo-Japanese War (1904/05): The Japanese, emboldened by their military success on land and sea, demanded a large financial indemnity as well as the cession of Sakhalin. The Russian tsar refused to consider either. Yet with revolution rampant in Russia and the Japanese government close to financial collapse, both sides needed to end the war. Their delegates at the US-mediated peace conference of Portsmouth had to figure out how to balance peace, national interest, and saving face.
In the classic two-player mode, the opponent players represent the delegates of Japan and Russia at Portsmouth who negotiate over Japan’s demands. Their hands of cards represent diplomatic approaches – listening or emphasizing, acquiescing or threatening. More aggressive stances are more likely to carry the day on any given issue, but the more lopsided a round of negotiations is, the more tensions will rise on the side of the loser. If they are pushed too hard, they will resort to war – and the other side will bear the blame for not being ready to compromise.
Other player counts see US president Theodore Roosevelt join as either as a third player or the solo role. In either case, Roosevelt is an “honest broker” whose goal it is to find an equitable resolution to the conflict.
Peace 1905 awaits its Kickstarter campaign in the second quarter of 2026. The game will be released in late 2026.
Hammer and sickle are, of course, the symbols of communism. Yet ideology aside, they speak of the material basis of modern societies – the food that everyone needs to eat, and the industrial production that is required for everything from building houses to waging war.
This economy underlies Hammer and Sickle, a multiplayer treatment of the Russian Civil War after the October Revolution: The industrial cities (mostly in the north and west of the collapsing Russian empire), marked by hammers, produce Firepower – provided that their workers are fed with Food (from the sickle-marked rural provinces in the south). Otherwise, the workers start to rebel.
The result is a delicate balance between Food and Firepower, exacerbated by the factions’ asymmetries: The Bolsheviks, for example, have easy access to a lot of hammers, but might find themselves short of sickles; but the opposite might be true for the White Army operating from the south. In addition to the game’s (loose) two alliances of Revolutionaries (Bolsheviks and Anarchists) and Counter-Revolutionaries (White Army and New Nations), new alignments might develop…
Alex Knight has shown his ability to turn a complex political-military struggle into a compelling board game with the Spanish Civil War in the intriguing Land and Freedom. I’m sure he’ll do the same with Hammer and Sickle.
You can pre-order Hammer and Sickle at the P500 price of $62.00 (regular price: $97.00). Release is expected not before the third quarter of 2026… which might turn into 2027, but I wanted to include the game here anyway because it just seems so fascinating.
Matthias Cramer has got the range. He has designed great epics like Weimar: The Fight for Democracy, but he is also a master of the short form. His Watergate is a knife fight in a phone booth… and Lenin’s Legacy promises to be cut from the same cloth.
Vladimir Ilyich Lenin was the dominant figure of the new Bolshevik government of Russia, but his health started to fail him soon after the October Revolution. Behind the scenes, his lieutenants jockeyed for position to succeed him – and the two likeliest candidates were Leon Trotsky and Joseph Stalin. While they differed in their politics – Trotsky wanted to advance the “world revolution”, Stalin advocated for “socialism in one country” – and their power bases – Trotsky was the creator of the Red Army, Stalin controlled the Communist Party – they had one thing in common: Their drive to take power.
Lenin’s Legacy lets its players fill their shoes and struggle over the army, the party, and the regions and politicians of the Soviet Union in a card-driven game with a twist: Almost all cards are selected from an open market. The players hold only one card each… but they can gamble on playing the opponent’s card (without knowing what it is)!
Many of the games in this post are very zoomed-out, grand strategic affairs. The counters you push move armies, the cards you play shake nations. Yet there is also something very charming about games operating on the micro level, and you get exactly that with Night Witches.
You are on the Eastern Front of World War II, serving in the all-women 588th Night Bomber Regiment of the Soviet Air Forces. You have no more than two biplanes at your command in every mission… and they are old, slow, and vulnerable. Still, your goal is to harass the invading German forces with these low-flying, hard-to-detect, and hard-to-engage craft every night, do damage as much damage as you can (or, at least, wear the enemy out with constant nocturnal attacks), and make it back safe.
You can play each mission separately or in a ten-mission campaign which allows you to carry over upgrades, and either solo or as a two-player cooperative effort.
Night Witches awaits its Kickstarter campaign in the second quarter of 2026. The game will be released in late 2026.
This game has been long in the making. I’ve referenced it as ready for pre-order eight years ago, and have been intrigued by its premise since then. The Berlin Airlift was the largest airborne logistics operation ever, and for it to render the Berlin Blockade (on the ground) void, hundreds of planes had to arrive every day in Berlin with fuel, food, spare parts, and medical supplies, notwithstanding the limited infrastructure, the often rough weather, and every so often, Soviet interference.
This immense logistical task fell to the US Air Force and the Royal Air Force, each of which is represented by two “squadrons” (players) in the game. The players strive to contribute the most to the effort with their squadron, but their internal competition sometimes has to take the backseat when a joint effort is required to confront Soviet interference or keep the morale of the Berlin population up.
John Poniske’s original design has been taken on by Terry Simo. The Berlin Airlift is now ready for production. It can still be pre-ordered here at the reduced price of $55.00 (later MSRP estimated $75.00). Publication is expected for the third quarter of 2026.
And which 2026 games look most exciting to you? Let me know in the comments!
Happy new year, everybody! I hope it will bring you much joy. I also hope it will bring you board games (which is basically the same thing). The question is, however: Which games? – Here are a few 2026 releases which look most intriguing to me. Long-time readers of this blog will notice that this year’s list is a bit longer than usual – there are just so many fascinating games scheduled for release this year!
As always, don’t take this as a shopping list (neither for you nor for me). Your taste in games and your discretion how many new games you want to chase decide what will end up in your shelf (and, hopefully, on your table)!
After that reminder, on to the games. As all of them are set in human history, they are ordered from most ancient to most recent.
Once the greatest Roman politician-generals outgrew to confines of the republican power-sharing agreement, the Republic was bound to fall. Yet it was not predestined that it would fall to Caesar. In fact, two of his associates/rivals, Pompey and Crassus, might as well have taken the diadem… if they had played their cards better.
Triumvir casts its players as the three mightiest power brokers of the last years of the Roman Republic. They will attempt to parlay their wealth, popularity, and military force into political success (in an adaptation of the negotiation mechanic from Engelstein’s and Herman’s previous cooperation Versailles 1919). Whoever settles the issues in the senate in their favor and deals best with the challenges in the rebellious provinces is poised to become the First Man in Rome…forever.
I have a fondness for the early modern period, this time when so many old certainties in Europe were shattered by revolutionary new developments – from the printing press over the discovery of America to the Reformation.
Neither King Nor God focuses on the struggle over military, religious, and commercial supremacy in Western Europe, with the Pope, the Holy Roman Emperor, and the Kings of England and France as the four protagonists. The players will send their courtiers to the big cities of Europe. These courtiers range from merchants over generals to assassins, each with their own action, forming a neat stack in each city. Once all courtiers are placed, each city’s courtier stack is resolved top to bottom – so, the last courtier placed is the first one to resolve! There are a lot of tactical considerations involved in which courtier you’d like to trigger early or late, and as they are placed face-down, also a good deal of bluffing.
I had the opportunity to play Neither King Nor God at last year’s SPIEL in Essen. Our Holy Roman Emperor attempted to spread Protestantism in Germany and waged war against the Pope for control of Venice, while France and England expanded their commercial networks on the continent and clashed over Normandy. Everyone had a great time!
The limited pilot edition of Neither King Nor God can be ordered for € 69.00 and will be shipping in mid- or late January. Sound of Drums aims to have the full epic edition ready for SPIEL in October 2026.
The European revolutions of 1848/49 are generally considered failures. After all, the ancient régimes had returned to power everywhere but in France, and even there the Second Republic was soon overthrown by Louis-Napoleon Bonaparte. Yet for months it looked like all of Europe could shed the old order in favor of liberalism, nation-states, and maybe even – gasp! – democracy. And even when the revolutionaries were defeated, they had changed the way the game was played: From then on, politics was conducted in public, with parliaments, parties, and newspapers, and the forces of liberalism and nationalism had to be taken into consideration by even the most conservative of monarchical governments.
Despite the impact of the revolutions, barely any games have covered them. Jules Félisaz’s 1848 seeks to rectify that in an ambitious manner, covering the political, military, intellectual, and social dimensions of the revolutions in all of Europe. Félisaz relies on a mix of tried-and-true CDG mechanics – the “mandatory opponent events” from Twilight Struggle, the spatial layout of societal groups from 1989, and the escalation through decks from Paths of Glory, adding its own twists where appropriate (for example, overlapping scoring regions based on nationality (German, Polish, Italian…) and empire (Russian, Prussian, Austrian).
Let us not say there are only wargames on this list. Look, here’s a peace game!
Making peace is generally a complex business, and so it was in the case of the Russo-Japanese War (1904/05): The Japanese, emboldened by their military success on land and sea, demanded a large financial indemnity as well as the cession of Sakhalin. The Russian tsar refused to consider either. Yet with revolution rampant in Russia and the Japanese government close to financial collapse, both sides needed to end the war. Their delegates at the US-mediated peace conference of Portsmouth had to figure out how to balance peace, national interest, and saving face.
In the classic two-player mode, the opponent players represent the delegates of Japan and Russia at Portsmouth who negotiate over Japan’s demands. Their hands of cards represent diplomatic approaches – listening or emphasizing, acquiescing or threatening. More aggressive stances are more likely to carry the day on any given issue, but the more lopsided a round of negotiations is, the more tensions will rise on the side of the loser. If they are pushed too hard, they will resort to war – and the other side will bear the blame for not being ready to compromise.
Other player counts see US president Theodore Roosevelt join as either as a third player or the solo role. In either case, Roosevelt is an “honest broker” whose goal it is to find an equitable resolution to the conflict.
Peace 1905 awaits its Kickstarter campaign in the second quarter of 2026. The game will be released in late 2026.
Hammer and sickle are, of course, the symbols of communism. Yet ideology aside, they speak of the material basis of modern societies – the food that everyone needs to eat, and the industrial production that is required for everything from building houses to waging war.
This economy underlies Hammer and Sickle, a multiplayer treatment of the Russian Civil War after the October Revolution: The industrial cities (mostly in the north and west of the collapsing Russian empire), marked by hammers, produce Firepower – provided that their workers are fed with Food (from the sickle-marked rural provinces in the south). Otherwise, the workers start to rebel.
The result is a delicate balance between Food and Firepower, exacerbated by the factions’ asymmetries: The Bolsheviks, for example, have easy access to a lot of hammers, but might find themselves short of sickles; but the opposite might be true for the White Army operating from the south. In addition to the game’s (loose) two alliances of Revolutionaries (Bolsheviks and Anarchists) and Counter-Revolutionaries (White Army and New Nations), new alignments might develop…
Alex Knight has shown his ability to turn a complex political-military struggle into a compelling board game with the Spanish Civil War in the intriguing Land and Freedom. I’m sure he’ll do the same with Hammer and Sickle.
You can pre-order Hammer and Sickle at the P500 price of $62.00 (regular price: $97.00). Release is expected not before the third quarter of 2026… which might turn into 2027, but I wanted to include the game here anyway because it just seems so fascinating.
Matthias Cramer has got the range. He has designed great epics like Weimar: The Fight for Democracy, but he is also a master of the short form. His Watergate is a knife fight in a phone booth… and Lenin’s Legacy promises to be cut from the same cloth.
Vladimir Ilyich Lenin was the dominant figure of the new Bolshevik government of Russia, but his health started to fail him soon after the October Revolution. Behind the scenes, his lieutenants jockeyed for position to succeed him – and the two likeliest candidates were Leon Trotsky and Joseph Stalin. While they differed in their politics – Trotsky wanted to advance the “world revolution”, Stalin advocated for “socialism in one country” – and their power bases – Trotsky was the creator of the Red Army, Stalin controlled the Communist Party – they had one thing in common: Their drive to take power.
Lenin’s Legacy lets its players fill their shoes and struggle over the army, the party, and the regions and politicians of the Soviet Union in a card-driven game with a twist: Almost all cards are selected from an open market. The players hold only one card each… but they can gamble on playing the opponent’s card (without knowing what it is)!
Many of the games in this post are very zoomed-out, grand strategic affairs. The counters you push move armies, the cards you play shake nations. Yet there is also something very charming about games operating on the micro level, and you get exactly that with Night Witches.
You are on the Eastern Front of World War II, serving in the all-women 588th Night Bomber Regiment of the Soviet Air Forces. You have no more than two biplanes at your command in every mission… and they are old, slow, and vulnerable. Still, your goal is to harass the invading German forces with these low-flying, hard-to-detect, and hard-to-engage craft every night, do damage as much damage as you can (or, at least, wear the enemy out with constant nocturnal attacks), and make it back safe.
You can play each mission separately or in a ten-mission campaign which allows you to carry over upgrades, and either solo or as a two-player cooperative effort.
Night Witches awaits its Kickstarter campaign in the second quarter of 2026. The game will be released in late 2026.
This game has been long in the making. I’ve referenced it as ready for pre-order eight years ago, and have been intrigued by its premise since then. The Berlin Airlift was the largest airborne logistics operation ever, and for it to render the Berlin Blockade (on the ground) void, hundreds of planes had to arrive every day in Berlin with fuel, food, spare parts, and medical supplies, notwithstanding the limited infrastructure, the often rough weather, and every so often, Soviet interference.
This immense logistical task fell to the US Air Force and the Royal Air Force, each of which is represented by two “squadrons” (players) in the game. The players strive to contribute the most to the effort with their squadron, but their internal competition sometimes has to take the backseat when a joint effort is required to confront Soviet interference or keep the morale of the Berlin population up.
John Poniske’s original design has been taken on by Terry Simo. The Berlin Airlift is now ready for production. It can still be pre-ordered here at the reduced price of $55.00 (later MSRP estimated $75.00). Publication is expected for the third quarter of 2026.
And which 2026 games look most exciting to you? Let me know in the comments!
This is the 2 player game from one of my favourite games, Everdell is such a fun game with so many enjoyable characters and such a lovely town that you can build and explore and enjoy to your hearts content.
This is such a fun version of the game that takes so much less time to play yet doesn’t lack any of the fun of the original game If you are looking for a two player that will give you a lot of joy this is it and once you have played it , it can leave you so much more time to play again or play until another player turns up.
I was pleasantly surprised how much fun this game was and am very glad to have it in my collection. This is as much of a complex game to enjoy just a bit simpler to play. Using your critters to build your town to make the most points and win the game. In this case the critters are hares and tortoises, so you must ask yourselves are you slow and steady or likely to end up in a hedge somewhere wandering what happened.
After realising that they had not only inadvertently brought an alien lifeform onto their freighter, but that the alien was a vicious and terrifying predator, the crew had only one choice. Armed with whatever they could find on their commercial vessel, they started sweeping the ship one section at a time. Yet, their fear and terror led to rash decisions, which meant a crew member got sucked out into the vacuum, and another was blown up by a hastily made explosive device. To the crew, it was life and death, but to the alien, it was all a game, and This Game is Killer: Alien on Board by Ivan Turner from Smirk & Dagger Games with art by Grafit Studio.
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