Throughout human history, stories have been a way for people to share the concerns and ideas of their time. I think we can all agree that books and films are often shaped by the social, political, and cultural contexts in which they were created, whether deliberately or not. Readers and viewers will usually be able to see reflections of real-world anxieties, hopes, and tensions within them. Board games, while also being a form of entertainment, alongside books and films, work differently. In this article, I want to look at whether they still reflect the times in which they were designed.
Were we gods we’d breach these walls to the Eastern Ocean.
Peter and Andy get a fully painted Kings of War 4th Edition starter set on the table to try out the new game!
Mantic Games, though still a relatively small wargaming company, has been very busy lately churning out games and miniatures, most notably their Halo: Flashpoint system. But they’ve also found the time to release a new edition of their old rank and flank fantasy battles rules: Kings of War.
I received the new starter set Claws in the Sand at the start of this year and immediately got to painting it up, but it’s taken me a little while to finally get the game to the table. Please enjoy Andy and I putting the starter set through its paces, and having a lot of fun and laughs as we do so!
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On the final full day of our recent Ireland trip, we walked across Dublin to the Guinness Storehouse self-guided tour experience. You start at the base of a massive circular interior (it’s shaped like a pint of Guinness) and work your way up level by level, learning about Guinness–the beer, the company, and the brand–as you go. Here are a few standout business insights I learned along the way:
Quality Control (and the Veneer Thereof)
Before we even entered the building, we saw a van parked outside that read, “Guinness Quality Team: Dedicated to delivering beautiful Guinness everytime everywhere”. Right from the start, Guinness was communicating that they have a continual focus on providing the best version of their product. This is later reinforced during the tour when they talk about the “smellers” who ensure the barrels are working optimally.
This really got me thinking about more ways we can improve quality control at Stonemaier Games and how we can share the variety of systems we have already have in place, as I always want the first printing of any product to be perfect.
Branding Is Constantly Evolving
I associate Guinness with a specific can, so I was struck by the sheer variety of bottles displayed at the beginning of the tour. While the label has stayed mostly the same over the years, the size and shape of a Guinness bottle has vastly varied.
This made me think of game boxes. There really is no standard game box–modern manufacturers can make any size. While I understand the visual appeal of having games that align cleanly on a shelf, the box is ultimately a delivery vehicle for the contents within. I never want to limit what a game can be (or make a box that is much too big) based on box size consistency.
Longevity Is a Selling Point
The current Guinness label has “EST. 1759” on the iconic harp. It was interesting to see that most of the previous harps didn’t have that date, as it seems like a huge selling point to convey that the product is so good that it has lasted nearly 300 years.
Recently I’ve thought a lot about how longevity is such a great selling point for Magic the Gathering. It isn’t just about Magic lasting over 30 years; it’s also about how they tie old cards to new sets, adding depth and nostalgia to the world they’ve fostered for so long. I think there’s huge value in having a singular, long-lasting product that reminds people of its history.
It’s Okay to Revisit a Tried-and-True Formula
When I think of the Guinness beer, I think of a dark brew topped by thick foam. I assumed that was always the case, but that’s apparently not true: The “creamy white head” wasn’t introduced until 1959.
There’s constant innovation in nearly every industry and we’re always learning, so I don’t think there’s anything wrong with revisiting older games to apply those innovations and lessons learned over the years. That’s what I tried to do in the upcoming Euphoria Essential Edition.
The World Isn’t Stagnant, and Neither Are We
Prominently featured at the Guinness Storehouse is Guinness 0.0, an alcohol-free version of their beer that tastes remarkably similar. I asked a Guinness employee about this version of the beer, which was released around 3 years ago, and they said that it is already a success in reducing drunk driving in Ireland and beyond. It also has a positive impact on public health, as alcohol can lead directly to liver disease.
I think there’s something about human nature that can make us a bit stubborn about changing our worldview, but the world is always changing. I know so much more about accessibility and environmental sustainability than I did a few years ago, and while meaningful sustainable change takes time to implement, I believe it’s worth constantly pursuing.
Those are just a few takeaways from my experience at the Guinness Storehouse. I’d love to hear your thoughts about Guinness or similar behind-the-scenes tours. How do they apply to the tabletop game industry and community?
You’re stumbling through the labyrinthine streets of Old Angeles; your clothes soaked in rain and neon. The city is a mix of perpetual darkness and the unending belch of industrialization. But at least you’re not alone. Your private investigation firm is staffed by the other stiffs sitting around the table. All of you are working…
The low sun drapes itself across uneven fields, gilding half‑finished fences and soil still warm from the plough as hands move with quiet urgency, gathering wood, shaping clay, urging reluctant earth to yield before the season slips away. Your family waits with hunger and hope intertwined, their future resting on each small choice made in the dirt. Buried in this hard labour, there is a deep, steady satisfaction, a sense of watching something humble grow into something living, something that belongs to you alone, something shaped by care and intention, something you created as the Agricola by Uwe Rosenberg from Lookout Spiele with art by Klemens Franz.
I have been told that Ken Tidwell passed away (Matt Leacock has apparently posted a note on Facebook)1. Many of my readers will have at least know-of Ken …. because he founded The Game Cabinet, which was the go-to site for European games and (I believe) inspired Aldie to make BGG. Ken was also an entrepreneur who founded multiple startups, and at various times in my career I asked him for advice and/or commiserated with him. I got some good stories (and hopefully told a few as well).
My condolences to his family and especially his wife Jocelyn.
Searching revealed that there are a number of Ken Tidwells with Obituaries, but none of them are the one I know. Also, not using facebook, I wouldn’t know how to find that. ︎
I’m constantly trying to learn about customer service practices so I can better serve our customers at Stonemaier Games. I spent the last week traveling across Ireland with family, and I thought I’d share some quick notes about customer service (mostly very good).
Tullamore Distillery: We walked in here with only around 30 minutes to spare, which we mentioned to the person working the main desk. Within seconds, she offered us a 30-minute whiskey tasting, and we had a wonderful time learning about Tullamore from her.
Sean’s Bar: The proprietor sat down with us for 5 minutes to share the history of Ireland’s oldest bar and the story of Irish coffee. He later gave a similar speech to a bigger group in the same room, and I noticed he intentionally changed the wording since we were within earshot.
Linnane’s Lobster Bar (Newquay): We got a little messy eating crab, lobster, oysters, and mussels here, and an attentive server–not even our primary server–noticed and offered us a bowl of water with lemon to rinse our fingers.
Oscar’s (Galway): We had a late dinner, and the server was keen to alert us to the exact remaining quantity of a specific dish before it was gone.
Sheridan’s Cheesemongers (Galway): The person behind the counter was incredibly helpful in recommending three made-in-Ireland dishes that complemented each other (two cheeses, one cracker, and chutney).
Midleton Distillery (Midleton): The young tour guide frequently invited questions and called back to previous questions, yet he kept things moving along.
Manna Cafe (Killarney): Each of us ordered a different coffee drink at breakfast here (which was ample and delicious), and to help us tell the difference, each came in a different type of glass with a unique design on the foam.
Table 45 (Dublin): When we arrived fairly late in the evening, the manager warmly let us know that the kitchen was only open for 25 minutes but that we were welcome to sit down and order tapas (which we did).
Sweet Salt (Dublin): When we showed up at this highly rated cafe for 6 coffee orders, multiple members of the team swiftly shifted into barista mode.
Guinness Storehouse (Dublin): This is a superbly designed self-guided tour that consistently moves people from one area to the next (with the one exception at the end of the tour where the free pint of Guinness takes people so long to drink that the room is very, very crowded).
Fish Shop (Dublin): We ended up here after searching for the best fish and chips in Dublin, and despite initially being told that we needed a reservation, the owner invited us back inside after seeing scrambling on our phones to find an alternative.
Gamers World (Dublin): After hearing my American accent, the person working the register discounted the game I bought by 10% (not because I’m American; it’s something related to taxes and duties). Also, it was neat to see them carrying many Stonemaier games, for which I thanked them.
Cafe Nero (Dublin): I ordered a ristretto without knowing what it was, and after seeing us puzzled over meager contents of the cup, the manager offered to give us any other drink. We assured him it was fine–I wanted to try something new, and now I know! (It’s a very condensed shot of espresso.)
Many of these experiences are small, but they can have a big impact on the overall experience. What’s a minor-yet-impactful positive customer service experience you had recently?
“They don’t all have to be if enough of them are.” -Mother Fox, The Musician and the Fairies, A. J. Abbott
Disclosure: played using the German version, played 6 times, beat the game in level 3, highest score achieved: 37 pts
There are plenty of trick-taking games for two players, but many of them aren’t cooperative. The Fox in the Forest Duet caught our attention at a book shop as it is both co-op and for exactly two players. Its art style reminds us of some fairytales collected by the brothers Grimm from long before. We decided to purchase it and give it a try.
The box is compact (16.5 x 11.4 x 3.2 cm). It has a rulebook, some small cardboard tokens, a small wooden token that represents the players, two reference cards, a deck of 30 cards, and a small cardboard road map. Unfortunately, two cards have some misprints and the quality of the cards in general isn’t ideal. It would have been nice if they had a linen finish.
The components
The setup is simple, and it doesn’t take much space as you only need space for the small board, the trump card, and somewhere to play the cards. The gem tokens have to be placed on top of the small squares on the board. There are symbols in the squares, which indicate the number of red tokens the player should place. The board also indicates where the players should start.
The board with red gems
One of the players shuffles the deck and hands 11 cards to each player and draws one card that determines which suit is the trump suit. The deck has only three suits. Whoever has the highest number of the suit played by the first player or the highest trump card takes the trick. The wooden token should then be moved toward the winner of the trick. The number of steps is the total number of steps at the top left of the cards, with each card having between zero and three steps. If there’s a red gem at the final step, it should be removed from the board. To win the game, there shouldn’t be any red gems left on the board within three rounds. Kaysee likes this mechanism as there’s something satisfying about removing something from a board and being rewarded for it, similar to a crisis-management mechanism in some crunchy games.
Some cards don’t have any movement numbers, but instead they give the player additional abilities like exchanging a card with the other player or letting the winner choose whether to use both cards to move or just one of them. We like this mechanism because it allows us to indirectly communicate something to each other since the game doesn’t allow us to share our strategies or show each other our cards.
The game has three difficulty levels and a scoring system. The highest possible score is 46, which can only be achieved in level 3 without losing a forest path and being able to remove a gem with each and every single movement. Trying to reach the highest score possible may excite some players, but not us, at least not with this game.
The first game wasn’t very exciting for both of us. We did win the first try, but we didn’t find it engaging. We think it’s probably because of it being too abstract for our taste and how the theme isn’t strong enough in this game. But we do like being able to win the game when we exchange cards and get the cards that we exactly need to beat the game. For level 3, we played for a bit more than half an hour.
Our Final Thoughts:
The Fox in the Forest Duet is a decent compact trick-taking game. Like other games that have a strict communication limit, it didn’t allow us to come up with a strategy together, and that’s ok. Communication limits can be fun sometimes, especially if it feels like we can read each others thoughts, but the lack of strong theme and excitement while we play this game didn’t help in terms of us wanting to play it again. We can, however, imagine playing this to kill the time at a boarding gate at an airport while waiting for the plane to arrive. We would also suggest reading the fairytales by Alana Joli Abbott (even though you’re not at an airport), which are much more suited for the modern times than the fairytales from long before.
Title: The Fox in the Forest Duet
Game Design: Joshua Buergel
Illustration: Adrienne Ezell, Jason D. Kingsley, Roanna Peroz, John Shulters
Publisher: Foxtrot Games, Renegade Game Studios
A recent episode of the Game Design Deep Dive, featuring the podcast host, Dan Bullock, in conversation with prolific board game designer of many historical and storytelling games, Cole Wehrle, got me thinking about something I had never really questioned before: who we actually are when we play board games. Player roles are often afterthoughts, taken for granted as part of the theme or setting. However, the more I thought about it, the more it became clear that they shape how we understand a game, how we make decisions, and even how they influence our emotions as we engage with what is happening on the table.
Popular game publisher CMON has been having a rough time of it post-tariff-idiocy period, forced to sell of their most profitable IPs and stop new campaigns, but to their credit they really did seem to hunker down and concentrate on getting promised crowdfunded games out to backers while slowly rebuilding the company. I think I’m even getting my Dune: Arrakis expansions soon, finally.
Metal Gear Solid: The Board Game is one of their underrated gems. I played the original computer game way, way back when, but these stealth and action mechanics are so solid, and feel so good, they could have been attached to any similar theme. The bonus for Metal Gear Solid fans is that the scenarios follow the first game’s beats so closely, which supplies a fun nostalgia hit. And like a video game, the scenarios introduce rules and new situations as you go, so you’re not overloaded from the start.
This game is nicely produced, plays smoothly (despite a long-winded and badly organised rulebook), and just works. Stealth mechanics are hard to get right sometimes, especially when you add patrolling guards and security cameras into the mix, but MGS nails it. In between there are some fun boss battling segments that use a deck of custom behaviours to give the antagonists personality. Apparently the crowd-funded version came with a comic book which fleshed out the scenarios, and it is missed here, but you can easily live without the bonus big walker miniature.
In the end, I’d trade one really solid, fun, well-designed game like this for shed-load of useless Zombicide and Marvel-themed plastic crack, but that’s just me. Definitely recommended!
This article is an attempt to starting clarifying my (evolving) thoughts about Slay the Spire II by putting them into words. There are presumably (much) better players than me, but are they writing anything? My normal answer is ‘Nope.’ but actually Youtube is awash with videos by people who monetize content, so actually there are. But you are here, so presumably you like the printed word over audiovisual.
I’ve played … a lot. Probably 200-250 hours solo1. Right now I’m at a roughly 52% solo win rate3 on the most difficult ascension level (A10) in Slay the Spire II, which is approximately where I was at on the most difficult ascension in the first game first game, but that was with Act IV, which doesn’t exist yet.
So … not great, but not terrible. Good enough to pounce on a great card/combo when it shows up; not good enough to jury-rig a win out of spare parts. (This influences my thoughts). My “micro” could be better. I often take a few extra points of damage due to negligence; which is a huge leak on my win rate; but I’ve been getting quite a few more “almost” wins, which is a good sign.4
This post is just a mish-mash of thoughts, but not really re-hashing general thoughts from the first Slay the Spire that transfer. (A few for emphasis). I was going to write some thoughts on cards/etc, but those are ever changing. For clarity, I’ll do this as bullet points.
You play three of your five cards each turn (in a simple world where everything costs one). So you’d like 1) huge attack(s), to end the fight or when you aren’t attacked 2) huge block(s), when you are being attacked 3) flexibility for the remainder (often long term scaling, covering weaknesses, etc).
You don’t care how many “cards” you convert to attack/block/whatever, you want to be able to convert your mana to attack/block/whatever efficiently. This means a “2 Mana — Block 12” card is often (much) better than a “1 Mana — Block 7/8” … you’d get more with two of the latter in your hand, but that also requires two card picks.
Realistically, early on you’ll play 2/3 mediocre attacks/blocks. Starter decks lack density.
Playing two-three cards leaves room for cards that are dead most of the time (or all of the time for curses), but solve an important fight or two.
But, Dead cards leave you vulnerable to variance, particularly multiple dead cards. If you only have three cards you can play, your only choice is the order/targets. So (some decks) may want a bigger deck, to double the staples, which creates space for more specialized cards.
Extra block survives more variance than extra attack (because if it doesn’t win right now, you take a hit). Even in Act I the elites (and some hallway fights) dish out 20+ damage a turn.
The more I play the happier I am taking two cost block cards.
This does lead to decks that block for 5 turns then get outscaled, but I lose less often that way than to being to aggressive. I still need to tune that variable.
As I get better I’m more prone to save a potion for a boss/problem floor.
I’m fine skipping elites in later acts once I’ve bottled the lightning, unless I’m just confident in the matchups. Even a good start needs to snowball.
The Act II ancients give you a lottery ticket that’s a winner, but often just a small/medium winner. The Act III Ancients usually grant a golden ticket.6 I am OK having no idea how I’m going to beat the Act III bosses if I feel confident that I can get to Act III, and let the blessing (hopefully) clarify things.
Act I
Act I is tough7. In StS 1 I’d sometimes die to an early Gremlin Nob (before the middle floor treasure) or the Act I boss; in this version I perished in Act I often — a too early elite or just damage accumulating 3-4 floors in a row. The elites hit hard. For a while I was skipping most of them, but you have to start engine building. To win you need a cornerstone: a card/relic that provides a clear direction towards victory. It may not be the best option, but a cornerstone is an understandable option.
In early games, I hit an early elite and died … then realized my deck would have lost to any of the elites. But that just delayed the loss to the Act I boss or early Act II You need to start that snowball of growth. A good deck will roll through the second half of Act I like butter. Now I prioritize hitting as many late elites as I can, or trying to highroll a gift from Neow into a deck that can hit an early one … and then decide how many elites to take. Ideally I’d fight 3-4 elites in Act I (as late as possible).
Why fight them? If you get 10 relics 7-8 of them are going to be “yeah, that’s OK” but the great ones really help and form your cornerstone. (Best get it early, then you can work on combos and covering weaknesses). Elite fights are lottery tickets, but you aren’t going to win on slow steady investments. You need to hit the lottery (rare card or relic). As you get better what counts as a hit will grow.
And it’s not like the hallway fights are cakewalks. (Moreover, there are only three elites and you won’t duplicate until you’ve seen them all, so you can often tailor your picks against them. The hallway fights have a much bigger pool to select from). Even the events are a mixed bag.
Neow’s Gifts
(I have much less experience with the new ones that just appeared a few weeks ago).
Great
Leafy Poultice is my top pick. You trim out two basic cards via transformation … and get two lottery tickets that may have downside (at worst, a do nothing curse), but usually are strict improvements. Sometimes you high roll and a solid foundation. Losing Max HP is next act’s problem (mostly).
Silver Crucible — Getting an early “Common Attack+” or “Common Block+” really helps your deck’s density and with three upgraded cards you can handle the early elites (maybe not well, but you’ll likely survive). An early upgraded uncommon (or rare) can snowball.
Cursed Pearl … sure the curse is bad (a dead card roughly every other turn at the start), but that first store will hopefully give you at least a spark to bottle, if not lightning. (Golden Pearl to a lesser extent, and these both assume an early store).
Stone Humidifier is another big deal. I know I said Max HP could be ignored for now, but Stone Humidifier can let you skip a few elites for extra rests. Each rest becomes “Upgrade a card OR take a +5HP relic when you rest” (if upgrading a card isn’t that important. Also, Miniature Camp and Waterfall Giant are in the game and a high max HP is a great way to avoid a random loss due to variance. But in the last few weeks I think I might downgrade this a notch.
Winged Boots — These let you path very aggressively into multiple elite fights where variance would likley kill you 25%+ of the time. You take the first fight, if it goes great, you take the second. If not, you jump over to a rest.
Avoid
Precarious Shears — Removes two cards (like the Poultice), but has no possible upside and 13 damage (as compared to Max HP) is a big problem right now.
Lava Rock — You need help now, not at the end of act I.
Neow’s Torment — 10 Damage and some cards back is OK, but there is almost always a better option.
Anything not listed is OK … I certainly take Lead Paperweight and Pomander often enough, I’m just not terribly psyched when doing it. I’m actually kind of fond of Neow’s Talisman, which just upgrades a strike and defend. Partially because the Spiral enchantment event shows up fairly regularly (replay one) and also because removing all your strikes and defends is much harder in this game than in the first. You are probably carrying a 1-2 of them throughout the game. The defend (in particular) can really help with the chip damage accumulating across fights.
Overgrowth vs Underdocks
This has been discussed elsewhere (Jorbs covers it in a video) so I’m not going to touch on it too much, but be aware of which elites are in the pool and which aren’t. The big “Bomb” in the Overgrowth is the Bygone Effigy, a cakewalk if you can slam out the 132 (!) damage by the end of turn 3 (or turn 4, taking a single hit). Without the Effigy, if you can just block for 15-20 a turn (and still do reasonably damage) you’ll be fine, particularly if you have some AOE damage. With the Effigy‘s high HP and massive hits, you need a damage source (or slow source). Both Byrdonis and the Phrog Parasite scale up …. Byrdonis by adding strength and the Parasite by shoving junk into your deck. So you are going to want to favor attack over defense, since long term fights don’t favor you. (Byrdonis is arguably more dangerous than the Effigy, but it’s less of a Bomb. Both are damage races; both can kill you but since Byrdonis attack each turn you probably have to eat 20 damage even if you win on turn three (just going all out) but Effigy gives you three free turns, so a one turn difference is a bigger jump.
But in the Underdocks you can focus more on block than in general. Sure, the Phantasmal Gardners grow (slowly), but they punish multiple hits (and the Skulking Colony caps damage per turn). The Terror Eel is trickier, but big block + poison will work great, unlike in the Overgrowth.
The Underdocks (literal) Bomb is Waterfall Giant, responsible for over 8% of my deaths in the game8. Impressive considering it only shows up in ~16% of the games! If your deck is a fast attack deck, you might kill it but still need to tank a hit for 30 (either having block or enough HP left), and if your deck is a big block deck, you are probably slower and will need to tank a bigger hit. The Waterfall Giant is one reason I like the Stone Humidifier. A higher Max HP means a higher current HP in your final fight, so you can eat a bigger hit. This is also true of the Act III double bosses, where you need a buffer (unless your deck is absolutely purring), but with the Giant you need it.
There are few enough runs that a single win will drive it up and then drift down, but “1 in 20” seems roughly correct. ︎
Multi-player games are a whole different thing, with a win rate around 15%. I attribute this to the fact that a) either player can “go off” and win the run more-or-less solo (or with a the partners dealing with a troublesome fight and/or providing support) and b) sometimes you die due to variance in either game, but in multiplayer you get resurrected when your partner survives the fight, a recovery not possible in solo. ︎
My win rate also crept up after the first adjustments, make to make Act I easier and Act III harder, and I think this is not variance. I have not tried the Beta branch. ︎
Cliff note’s version: 1) Improve your Worst turn, 2) Improve your Best Turn, 3) Condense your Solution, 4) Improve your initial velocity, 5) Don’t overscale, 6) Understand Short term value vs Scaling Density & 7) There is a max hand size ︎
Darv (the merchant who offers relics from the first game) complicates things because he can show up in either Act. ︎
Written before the first balance patch of ~3 weeks ago. Still true, less so. ︎
This was written a month ago, before the patch, and a) he is now slightly weaker and b) I have really focused on beating him. Now he’s back in line with the rest of the baddies. ︎
In today’s flashback post, we’ll look at articles about project videos, after campaign communication, refunds and guarantees, April Fools Day, and managing stress.
Creating a Polished Project Video (#166): For the Scythe trailer, I decided to create a professional project video. Accomplishing this included selecting a capable, professional, and communicative designer, laying out the storyboard for the video, hiring a voiceover actor, find and hiring a music composer, and finally, working with the video designer to implement any final edits. Having a professionally produced video provides an opportunity to debut your video with some fanfare, something we’ve done for every game we’ve launched since this Scythe trailer.
The 4 Questions Creators Receive After the Campaign Ends (#167): I’ve noticed a pattern in the types of questions I received after each campaign. They usually consist of 4 different questions: 1. “I forgot to add ____ to my pledge. How can I do that now?”, “I didn’t pledge on time. Can I still back the project?”, “Can I cancel my pledge?”, and “My credit card didn’t work, but I still want the reward. Can I pay some other way?” Learning to expect these questions (or possibly have them answered in your FAQ) can speed up your after-campaign communications!
How Kickstarter Refunds Work and the Results of the Between Two Cities/Treasure Chest Money-Back Guarantee (#168): To refund a backer, go to the Backer Report, search for the backer, and click “Issue a Refund.” There you can refund all or part of their pledge, and they’ll see the refund on their credit card statement a few days later. If you give the backer a full refund, they will no longer be able to comment on the project. However, unless the refund is made within the 14-day grace period after the campaign ends (when the money is on hold), you will lose the roughly 8% fee charged by Kickstarter/Stripe. So if you send a backer a full $100 refund a few months after your project is over, the backer will receive $100, but you will incur a net loss on the original pledge of about $8. As for the our money-back guarantee, I can report only 7 backers of Scythe chose to send their copy back for a refund. I share this because I know it’s scary for creators to offer a money-back guarantee. I’m not saying it’s a good fit for you in the same way that it’s a good fit for us, but it can help create certainty.
How to Have Fun with Your Backers (#169): April Fools’ Day has a long tradition in relation to Stonemaier Games. On a day full of jokes, it’s tough to take anything on the internet seriously, and the last thing I want is to confuse backers. For a company, April Fools (and any time you want to have fun with your backers) shouldn’t be about fooling your customers. Rather, it’s about having fun with them in a way that demonstrates value. So don’t take yourself too seriously, absolutely don’t confuse your backers, and find a way to highlight what you already do well. Back when this article was published, I chose to announce 24/7 customer service. ;)
My Job Is Stress Relief…and I’m Not Very Good at It (#170): Oft-cited billionaire Mark Cuban took me off guard with this unexpected quote: “One of the ways to be incredibly successful no matter what you do is to reduce the stress of those around you.” I’ve ever heard this attributed to success. And I really, really like it… I’m just not very good at it. I’m starting to see how I could improve my customer service in general by changing the focus to reducing stress. And not just customer service–this is something I can do better with my business partners, freelancers, retailers, and other companies I work with. I can have better relationships and thus make Stonemaier more successful if I’m always trying to reduce the stress of those around me, often by clearly communicating and predicting future questions.
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If you have any questions or thoughts about these topics, feel free to share in the comments!
Everything seems to get ever bigger. Cars. Phones. Board game boxes. And the cities whose history and board games we explore are no exception: We started with Venice, moved on to Amsterdam, and today, we’re starting with New York. I say starting, because unlike the previous two cities, there is no way to do the vast number of board games set in New York’s history justice in a single post. Thus, this will be a mini-series with (tentatively) three instalments.
Names are given by people. “New York” was what the English called the settlement they took over in 1664, but the place had been inhabited by thousands of years before. While that is thus technically not the history of New York, we’ll take a short look at it.
We don’t know very much about the first humans to live in what would become New York: The indigenous people did not keep written records. Archaeology is hard to do in a place which is almost entirely covered in buildings and streets today. And the oral tradition of the Indians was largely destroyed when the westward expansion of the European colonists pushed them out of their native homes, broke up their communities, and finally confined them to reservations.
Five hundred years ago, several thousand Lenape Indians inhabited an island they called Mannahatta (“island of many hills”). They lived off slash-and-burn agriculture, hunting, and fishing. I am not aware of any board game which depicts their lives before the arrival of the first Europeans, but I think it would be a nice change of perspective while still retaining the familiar geography which draws many board gamers (of course, especially those from New York and its surroundings) to games about the city.
In 1524, Giovanni da Verrazzano, an Italian explorer employed by the king of France, sailed into what would be called New York Bay. There, he met a group of Lenape in their canoes. He called the area New Angoulême to honor the French royal house of Valois-Angoulême. For the next century, European fur traders would occasionally visit the Lenape, but not attempt to build a permanent presence.
Nieuw Amsterdam
Only in the 1620s did the Dutch, by then the premier commercial and maritime country of Europe, decide to colonize parts of North America. They resolved that this colony should include Mannahatta to take advantage of the rich beaver population whose pelts were much sought after in Europe, and put the merchant Peter Minuit in charge of the operation.
Minuit arrived on May 4, 1626. He met with some of the Lenape, and, according to his written report to Europe, purchased the southern tip of Mannahatta from them for trade goods worth 60 guilders. Even though nobody knows any details beyond Minuit’s own account, the deal is the founding story of New York. One thing that stands out about it is that it was a business transaction. Unlike other cities in North America, New York was not founded by a royal agent or religious refugees, but in the spirit and through the means of commerce (which has since remained the supreme political order and religious faith of New York). In that sense, Minuit’s purchase is either a very smart business move – after all, a large tract of land in such a prime position was surely worth more than the trade goods he handed over – or the hostile act of an unscrupulous merchant taking advantage of the less business-savvy (both actions hallmarks of New York’s commercial culture until today). Beyond the foundational myth, the transaction mostly shows different ways of thinking about land – the Lenape only accepted the right to temporarily co-use it, whereas the Europeans subscribed to the tenet of permanent, exclusive ownership.
While the Dutch colonized the whole mid-Atlantic coast of what is today the US, their settlement on Mannahatta was meant to be its center – as evidenced by its name of Nieuw Amsterdam (New Amsterdam), after the Dutch capital. Nieuw Amsterdam grew into a trading hub based on its deep natural harbor, the best on the Atlantic coast. The fur trade was soon complemented by Dutch farms which extended ever further north on Mannahatta, which triggered conflicts with the Lenape. This period is represented in New Amsterdam (Jeffrey D. Allers, White Goblin Games), which casts its players in the shoes of Dutch traders who will gather resources and expand New Amsterdam (at the expense of the Lenape).
Nieuw Amsterdam already contained the seeds of some characteristic New York traits: Its demographics diversified (Africans lived in Nieuw Amsterdam in 1626 already, an Italian followed a few years after); and the municipal council established in 1653, the first of its kind in America, was the start of the great democratic tradition of the city.
The English Colony
The Dutch colony did not last long. When the commercial and maritime rivalry with England flared up again, an English fleet seized Manhattan in 1664. To honor the heir presumptive, James, Duke of York, they renamed the city New York. The Dutch briefly recaptured the city in the next Anglo-Dutch war, but had to cede it permanently in 1674.
New York’s fine deep-water harbor was as valuable to English as it had been to Dutch traders, and the city continued to grow larger and more prosperous. When the British parliament imposed taxes on the American colonies from the 1760s on, the merchants of New York found themselves in a bind: On the one hand, like all entrepreneurs, they resented being parted from money. On the other, a rupture between Britain and its American colonies would cut off trade entirely – much worse than having to pay a moderate due. New York became thus both a hotbed of anti-British activism and one of the places in the American colonies which least wanted a war with the British motherland.
Fierier heads than those of the New Yorkers prevailed. War between Britain and the colonies erupted in 1775. Once George Washington had expelled the British from Boston in the first major action of the war, he moved his headquarters to New York. The city was thus the biggest possible prize for the British smarting from their first defeat. If they could beat the colonials there soundly, force Washington to surrender with his army, they could still quash the rebellion quickly… or so they thought. The amphibious campaign against New York would become the biggest operation of the entire War of Independence. While the British defeated Washington’s army and took the city, the wily colonial commander extricated most of his forces and lived to fight another day. The city of New York, however, would remain under British occupation for the rest of the war.
The British occupation cut New York off from its sister colonies. Many New Yorkers fled to towns which were under control of the American rebels. The loyalists left the town when Britain recognized American independence. In 1783, New York’s population had fallen by 60% compared to the pre-war number of 30,000. From then on, however, the city would know nothing but spectacular growth for over a century… but that’s a story for next time.
For a concise introduction, especially focused on local politics, see Lankevich, George J.: New York City. A Short History, New York University Press, New York City, NY/London 1998.
If you want a treatment which is both more in-depth and more journalistic (and lavishly illustrated) and don’t mind its history practically ending around 1970, see the book version of the 17-hour PBS documentary from 1999: Burns, Ric/Sanders, James/Ades, Lisa: New York. An Illustrated History, Knopf, New York City, NY 2001.
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