When I’m scrolling through Facebook, there’s a specific type of image that frequently catches my eye. It’s used the most by digital game news outlets: An evocative image plus a few descriptive lines of white and orange text on a black background.
I like this format so much that I recently decided to apply it to our games. In fact, I made two versions for each game: One using art and thematic vibes; the other using a photo of the game on the table and a few stats:
Despite having an active Facebook page for Stonemaier Games, I rarely use it to post about our games. So I’ve started posting one of these images once per week.
While I would prefer to equally showcase each of the two images per game, I think this type of image has the biggest impact when it’s alone. So for the first 25 posts I’ll use the thematic image and post the photo version in the comments with a link to the game’s page; after I get through every game, I’ll switch the two.
The most surprising result after doing this for Vantage and Apiary is the number of people who have commented on the posts (despite there not being a question or prompt). Some have shared their love of the game, others have asked questions. A rare few have even decided that this is the right place to share how they dislike the game.
But I love that a simple image has generated conversation and sense of community outside of our Facebook groups. Given that, I may also post these images on Instagram and Bluesky in the future.
What do you think about this approach? Are there other eye-catching image formats on social media that pique your interest (without being clickbait)?
My hands are filthy with the blood of UNSC marines.
Peter unboxes some cool new stuff for Halo: Flashpoint – the Noble Team expansion and the Reach Deluxe Gaming Mat!
More Halo: Flashpoint stuff! And I’m very happy to see a larger map area and some changes to the spawning rules in this new expansion. Let’s check out the new Spartan Noble Team models and the double-sized battle mat.
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Meadow is a game about wildlife in the countryside. The key underlying concept is the food chain. You need certain terrain to be able to support certain plants, you need certain plants to be able to support certain insects, and in turn these insects are food to small animals, and then these small animals are prey of larger animals. You collect and play cards with various icons. The icons allow
“The Rangers keep the Valley safe, looking out for trouble and helping people wherever they can. They are wonderful human beings.” – Ren Kobo, Earthborne Rangers Rulebook
Disclosure: finished the campaign
Earthborne Rangers was one of the games that had been on our radar for quite a while. Many campaign games are also legacy games, which are often not replayable and happen to have many components that aren’t compostable. The components of EBR are compostable, but it’s also a replayable campaign game. For some time we’d wanted to play GMless RPGs with just the two of us; we tried, but it was difficult and we felt we needed more guidance. It seemed that EBR could scratch that itch, giving us some structure without being so restrictive that we couldn’t create our own narrative. Additionally, the art style is beautiful and captures the ecopunk vibe that we like (and we both love green). So we were very excited when we were able to get our hands on it.
Earthborne Rangers is a deck-building/construction game that relies on cards for the world building. Most of the game consists of cards. While there is a map that shows the location, there’s no board to place your character, and having minis isn’t necessary. It is quite similar to a tabletop RPG. But unlike many TTRPGs, players don’t have to rely on the GM to decide whether an action is permissible. The rules are all set up in the game. While TTRPGs offer more flexibility in terms of what a player can do, in EBR, players get to choose the personality and the aspects or the stats of their character and don’t have to rely on dice to randomly generate the stats.
The prologue got us hooked very quickly. During the prologue each player first chooses a number of personality cards, followed by cards representing their ranger’s background and specialty. One of us chose a Forager-Shaper and the other chose an Artisan-Artificer. While we weren’t able to update them regularly during the game, you can check our character sheets here and here. The resulting ranger deck slowly changes over the course of the campaign, as there are opportunities to engage in some further deck building.
The prologue also walks players through the setup process that repeats at the beginning of each day/session. First, players set up their individual areas and draw a starting hand of six cards. This is followed by shuffling the challenge deck, the function of which we’ll explain later. Next come the location, weather and mission cards. We really like these cards as they really help with the immersion (we’d recommend checking out the soundtrack if you want your game session to be more immersive). These are determined by the current state of the campaign, which is noted down on a campaign tracker. If you’re curious, check out our campaign tracker, but be warned: it contains plenty of spoilers.
Then comes the potentially most consequential part, building the path deck, which contains the flora and fauna, the beings, the people, and some structures/ruins. This will include cards based on the path that was used to arrive at the current location, specific or general cards based on that location and sometimes additional cards related to a mission or the weather. What we like about the path deck is that it makes the world come alive and it gives more variety to the game as who/whatever you encounter when you draw a path card is random even though its construction is determined by the factors mentioned earlier. Finally, there are arrival setup instructions on the back of the location card, which shape the initial conditions the rangers find themselves in.
One of the path cards
After setup, rangers take turns until everyone has decided to rest for the round. On their turn, each ranger can either play a card from their hand, perform a test or decide to rest. The test or the card that a ranger can perform or play is dependent on the available energy, the type and the amount of which is determined by the aspect, in their energy pool and the path card that they want to interact with. In the first few sessions we were trying to use all the energy in the energy pool effectively, but it gets tricky as the campaign and the days progress; we asked ourselves (and each other) whether we should use them all before we rest or just rest even if there are some left in the pool. We really like this mechanism since while at the beginning it seems that being efficient with your resources means using most of them before resting, eventually we would have to consider whether not using them all and drawing a ranger card during the refresh stage (the stage after resting) might be the better option. But this also means having to draw another path card, which could bring more risks and might have to be dealt with.
When a ranger performs a test, they have to draw a challenge card, which contains a challenge icon (mountain, crest, or sun). Some path cards, weather cards, mission cards, and location cards contain challenge effects, which are triggered if the challenge card drawn has the corresponding challenge icon. The challenge card also determines if the effort used is deducted, added, or stays the same. We feel that the challenge cards are the ones that create the tension as you don’t know whether it’s going to trigger some negative or postive effects. Depending on the location, weather, path card and the mission cards in play, drawing a challenge card may speed up fatigue. Fatigue is when a ranger sets aside a card facedown from the ranger deck without using it. If the ranger is forced to fatigue a card but they don’t have any cards left in the ranger deck, they need to end the day. We haven’t played all the specialties and backgrounds yet, but we think that Shapers have a huge advantage when it comes to decreasing randomness and mitigating fatigue since they have more options not to perform tests during their turn; they could, instead, play a card, which doesn’t require drawing a challenge card to clear or help clear a path.
Challenge Cards
Clearing a path card is one of the most important things to do in the game because it unlocks and helps progress some missions. But a ranger doesn’t have to clear every path card in play. How to clear a path card depends on the type of path card and the conditions written on the card to clear it. If the card is a being, a flora, or a fauna, it can either be cleared by harm or progress. We would always try our best to clear using progress if it’s a being. We were talking about the choice of using the term “harm” and what it means in the game. This is the part of the narrative that we wanted to be very much our own. We sometimes just define “harm” as disturbance. Sometimes we say that the fruits were harvested and the plants were disturbed, which what harm means in the context of flora. Sometimes when a companion causes a harm to the prey, it just means that they “shooed” it. We interpret the term depending on which context it was done. The narrative and the system are not too restrictive so that there is some space for us to add our own spin on things.
The results of our choices also didn’t feel punishing mechanically and let us freely choose based on what we think is the right thing to do. Without going into too much detail, there was a mission where we needed some prey. One of the preys happened to be not a living prey. When we read the entry after clearing the mission, we were so relieved that we got it. When we finally cleared the mission, the reward wasn’t something we found valuable, but we enjoyed curating the narrative based on which preys we got. We’re being vague here, but you’ll know once you’ve chosen and completed that mission. What we also find very interesting and really love is that clearing a being with harm may seem to require less resources than clearing it with progress, but every ranger has some Spirit (the aspect that provides energy needed to clear with progress) and is capable of compassion, but not every ranger has the means (cards) to cause harm.
Our Final Thoughts:
Earthborne Rangers is the type of game that we were looking for when we were looking for a more structured GMless RPG. It’s not a TTRPG, but it is also not a typical card game. There were times during the campaign where we hoped to not encounter Quisi (one of the characters of the Valley who is endearingly fatiguing) anymore, but we still enjoyed the journey a lot. The art style, the interaction between the mechanics and the theme, the balance between randomness and choice, and most especially having the space to create a world that is uniquely our own, are the things that make EBR one of the best games we’ve played together.
What we like:
art style
immersion
narrative
balance between choice and randomness
ecosystems
not mechanically punishing choices
stage for the theater of the mind
compostable components
What we do not like:
using paper bands for cards instead of wrapping them
not much variety in the individual path decks
What Kaysee also likes:
the aspects
What Max also likes:
finding combinations of cards with interesting effects
What Max also doesn’t like:
if you get very unlucky, the day could end too early
Title: Earthborne Rangers (2023)
Game Design: Andrew Fischer, Brooks Flugaur-Leavitt, Andrew Navaro, Adam Sadler, Brady Sadler
Illustration: Joe Banner (II), Evan Simonet
Publisher: Earthborne Games
For many board gamers, Spiel des Jahres is simply the little red pawn on a game box. Spotting it on a shelf often suggests that a game is worth paying attention to. That's not only true in the German-speaking board game world, but also in many other countries, including the UK. Over the years, winners such as The Settlers of Catan, Carcassonne, and Ticket to Ride have helped establish the award as one of the most influential honours in tabletop gaming. Yet, there is a lot more to this story. According to its own history and mission statements, the annual prize was never intended to be the end goal. Instead, it was created as a tool to encourage people to play games, to promote games as a cultural asset, and to help the wider public discover the value of gathering around a table. In the first in a series of articles, I want to look at this further.
For years I’ve written a cautionary tale about the pros and cons of being the face of a brand or company. Yet it wasn’t really until this year that we started to act on the potential perils–more on that in a minute.
This topic came to mind because I recently received an email from Emily in marketing at Alkem Gear (which I mentioned in this article). A lot of what Emily shared was centered around Tim, the founder and creator of Alkem, yet I saw very little of Tim on Alkem’s website or the Kickstarter project. So I asked this:
“How does Tim remain closely connected to the campaign despite partnering with others–like you–for public-facing roles?“
Tim himself wrote back with a detailed answer; here are the two key quotes:
“One thing I believe is really important as a founder is understanding my own limitations. My background is in engineering and product development, not marketing, so I’ve always believed the best way to build something meaningful is to surround yourself with people who are genuinely better than you in certain areas. My role is to help set the vision, establish the values behind the brand, and make sure every decision stays aligned with the kind of community we want to build.
At the same time, I’m intentional about not making the brand revolve around me personally. I’m happy to do interviews, demos, podcasts, or community discussions, but my goal isn’t to become the face of the brand. I want Alkem to have its own identity, one built around service, humility, quality, and community. I want something that can outgrow any one individual.”
This is a really solid answer. I’ve talked in past articles about the power and appeal of a creator sharing themselves with backers during a crowdfunding campaign (opposed to outsourcing to other people or marketing services); see links at the end of this article. However, as someone with 7 coworkers, I also understand the value of delegating to people who are far better at their jobs than I am (or was, as I once wore nearly every hat here). I admire Tim for wanting Alkem to have its own identity.
Despite that, it’s still me (Jamey) writing these articles, replying to questions on social media and email, posting on Instagram, writing newsletters, recording the podcast, running the livecast, and recording YouTube videos. There’s plenty of upside to this personal touch, but the downside is that if you don’t like Jamey, if Jamey is hit by a bus, or if Jamey is no longer part of Stonemaier Games, it would be an abrupt transition to suddenly see someone else appear in my place on social media.
So a few months ago I talked to my coworker, Erica, to see if she would be interested in joining me on some YouTube videos. Not only does it put another face to Stonemaier Games, but you also get to hear from someone else who cares passionately about the tabletop hobby. Our latest video just posted yesterday, and it delves into a subject that was dear to Erica when she worked at a local game store.
Also, I would be remiss to point out that I’m far from the only face or name you’ll see if you have different experiences with Stonemaier Games. If you attend a convention, you’ll probably see Dave or Alex. If you’re a retailer, you’ve probably talked to Susannah. If you’ve had a customer service request, you’ve likely corresponded with Joe. And if you’ve submitted a game to us, you may have heard back from Alan. There’s also Christine (graphic design), but that’s truly a behind-the scenes role.
There’s still room for more versatility, but I really appreciate Erica for joining me as another friendly face on the YouTube channel. She’s also very active in the comments of our shared videos. She and Susannah have also stepped up for the livecast when I’ve traveled (I think Alex may have been on one of those too).
What are your thoughts about the delicate balance between making a company approachable, personable, and relatable without putting all your eggs in the same face?
Whenever people liberally throw around words like “innovative” or “unique” with recently published games, I can’t help but clench my jaw. It’s a difficult pothole to avoid, as the promises spat by titles in the crowdfunding era are necessarily braggadocios. We’re all guilty of this from time to time. It’s natural to pile on superlatives…
This game is set in World War II and depicts the battle between Germany and the USSR. This is a two player game and the story starts with Germany initiating the invasion of the Soviet Union. Every few rounds both players will score points based on controlling key locations. If you outscore your opponent by 10 points, you win immediately. Otherwise, you win by having more points at the end of
A little after 9am on Thursday, I boarded my first train of a journey that has become increasingly familiar over the years. It was my sixth visit to the convention, having first attended in 2019 before COVID forced a break, but I returned in 2022. It was also my fourth time making the journey by train. The first leg carried me from the South Coast to London Victoria, followed by a tube trip to London Euston and a welcome lunch break before the faster train north. By around 4pm, I was walking through the NEC halls once again, ready for another weekend at UK Games Expo 2026.
La Famiglia is a little unusual. It is a game for exactly four players (like mahjong!), and it is played in teams of two. You are mafia families in Sicily, and you compete to control the most regions. You win immediately when you control 5 regions, or your team controls 6 regions. If no one achieves this after four rounds, the team controlling more regions wins.
Every region on
“Stonemaier Games does not, has not, and will not use any form of AI to replace or augment creative work. If we’re creating something, we want it built from the ground up by talented people from different backgrounds, perspectives, and cultures, not an algorithm.”
I wrote this in April 2024, and after 2 more years of the generative AI onslaught, I thought I’d revisit the topic to see what, if anything, has changed between now and then.
Thanks to most of the science fiction I’ve read and watched over my life, leading up to the modern era I actually had an optimistic view of AI as something that could solve the problems that humans are unable to solve (or would otherwise take hundreds of years). Cure cancer, invent teleportation, end world hunger, and so on.
Maybe that’s where it’ll eventually lead–I’ll hold onto that optimism. In the meantime, instead of achieving the impossible, generative AI seems has become an output device to replace creative endeavors that are already quite possible. Enter a prompt, and the machine spits out an article or image.
Now, if you’re passionate about AI, I’m truly not here to shame you. I try to keep an open mind as the world changes, which is why I’m revisiting this topic today.
There are even elements of AI that aren’t as bad as I thought: For example, check out this episode of Science Vs about the water consumption from data centers. I’ve personally found AI summaries to be unavoidable when searching on Google, though I always try to look at the sources. Also, as much as I loathe the idea of AI replacing humans in any capacity, that’s somewhat inherent to technological advances (e.g., the excellent movie Hidden Figures shows how humans literally were computers until machine computational capacity improved).
In fact, I’ll admit that I accidentally used a logo for our podcast that was generated by AI (not by me). I didn’t realize it at first, then I realized it and wasn’t comfortable saying something, and finally I just decided to pay a graphic designer to create a new logo. I feel much better about it now.
Here’s my truth: I continue to not be interested in generative AI. The process of creativity is key to me as a person. I want to write these articles and film my videos from scratch. I want to come up with my own game ideas and put in the work to bring them to life. I want to read, research, think critically, and seek out sources, not rely on AI summaries. I want to embrace the process. I want to learn from my mistakes and share those lessons with you.
Likewise, I’m more passionate than ever about working with creative people and paying for their time and talent. The only difference now is that it’s in our contracts for artists, designers, third-party accessory creators, and digital developers that we don’t permit the use of generative AI. Similarly, we’ve added “human made: no generative AI” to the back of our game boxes, as we seem to have reached a tipping point when people are unabashedly quick to assume you are using AI unless you specifically indicate otherwise.
Last, I support creators and companies that pay my fellow humans for creative work. I’m only interested in games (and other media) that were designed by people, written by people, and illustrated by people. At the same time, I’m not going to spend my time, energy, or social currency shaming or bashing people who use generative AI. I choose to elevate, not denigrate.
I know that this is a sensitive topic, so while I genuinely want to hear your thoughts in the comments, I ask that you approach the conversation with an open mind and respect for your fellow humans. Let’s be good to each other. If you have hot take, please support it with a specific example or evidence. Thank you!
UPDATE: I realized after writing this article that even though I talked about being open-minded, I didn’t actually revisit the 2024 quote to see if it has changed in mid-2026. While I’m not interested in generative AI, it is possible that there will be uses of ethical AI in the future as related to Stonemaier Games that do interest me–we’ll see!
Stonemaier Games does not use, has not used, and does not plan to knowingly use generative AI for creative work (text, art, videos, etc). If we’re creating something, we want it built from the ground up by talented people from different backgrounds, perspectives, and cultures. We believe that the process is integral to our output, and it allows human creativity to shine. We do not actively use other forms of AI in our workflow either, but it is becoming so engrained in common technology that we acknowledge its passive use may become unavoidable.
Dewan in Malay means "hall", and the boardgame Dewan has nothing to do with any hall. It's just the name of the game world. But I'm stuck with thinking "what the hall" whenever I say the name of the game. Dewan is a clean civ game. I am tempted to call it 4X, but it doesn't have all four X's, just eXpand and a bit of eXploit. No eXplore or eXterminate. You start with a little settlement, and
This is a new game from the wonderful people who bought us Pandemic. Once again they bring us a game that while using some of the Pandemic mechanics, feels like a different game. It does feel very much like a Lord of the Rings experience and not just a rebadge of the original game. This is a co-operative game where you can explore , do objectives and then finally destroy the ring.
You each play as a set of 2 characters which include Frodo and Sam, who of course must finally destroy the ring. On your turn you can do 4 actions with one character and 1 action with the other Middle-Earth has been divided up into twelve areas and you start in different positions across the board. Sauron isn’t going to just let you sit back, his forces are controlled by an interesting card mechanic with different troops ready to move along different lines depending on cards drawn at the end of each round and these forces intensify at various points in the game.
While some co-operative games can suffer from an alpha player take over, the nice thing is that with the objectives you can split up and do the objectives near your area without one player telling everyone what to do. Then team up for the final objective which is of course destroy the ring.
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