The long-running Cardboard Edison Award, which aims to celebrate the best in unpublished board game designs, has revealed its latest finalists after whittling them down from a record-breaking 396 entries.

This year’s 20 finalists include a magnet-based vertical castle-building game, a medium-weight strategy title centred around wedding planning, and a Persian folklore-themed action selection design which sees players use astrolabes to read stars and hunt demons.

Cardboard Edison’s annual entry numbers have soared since the first competition attracted 109 designs in 2016 – almost doubling to 192 within the next two years, and more than doubling between the pandemic year of 2020 and this year’s contest.

Part of that growth has been down to the competition’s growing pedigree of winners that have gone on to be published by well-known studios.

They include Winter, published by Devir, Castell from Renegade Game Studios and Umbra Via from Pandasaurus Games, as well as 2023 champion Diatoms, which followed a successful Kickstarter campaign with retail publication by 25th Century Games in partnership with Ludoliminal.

The rising numbers of entries has also been boosted by the international growth of the award, which attracted submissions from designers in 34 different countries this year.

Just over half of the submissions were from the US, about 8% from Australia, 6% from Canada and 4% from the UK, with “a decent number” from Germany, Spain, New Zealand and The Netherlands.

Cardboard Edison was launched in 2012 as a board game design studio and hub, which has since expanded from a well-read industry blog into a vast repository of information for board game designers.

Suzanne Zinsli, who created the award a decade ago with the help of fellow Cardboard Edison founder Chris Zinsli, told BoardGameWire it was “crazy” how it had grown globally, adding that she was “humbled that people from so many different countries trust us with their games and want our feedback”.

She said one of the major challenges around the award’s rapid growth was bringing in enough judges to properly assess the rising numbers of entries.

More than 80 judges took part in this year’s award process, including The Search for Planet X and Fromage designer Ben Rosset, Elysium and Next Station: London creator Matthew Dunstan and High Tide designer and Diana Jones Emerging Designer award winner Marceline Leiman.

Zinsli said, “Honestly, finding enough people to judge all the entries has probably been the toughest part of running the Cardboard Edison Award every year.

“It’s a big ask, and we’re very particular about who we invite. We want judges we can trust to be objective, provide great feedback, and who have the experience to back it up.

“That was our biggest hurdle this year, but it actually worked out great. We had enough judges, they were almost all able to hit their targets, and it ended up being one of our smoother years overall.”

When asked if any particular trends or themes were noticeable among this year’s cohort of entries, Zinsli told BoardGameWire, “I definitely noticed a few! For mechanisms, I saw several trick-taking legacy games, which is so cool. I love trick-taking and I like legacy games, so seeing them paired together felt brilliant.

“I was excited when I saw the first one, then I saw a second, and then a third! It’s something I haven’t really seen in the past, and now suddenly there were at least three entries, and there might have been more, since I only personally judged about 60 games. I love it – I’m totally here for it.

“As for themes, I wouldn’t say there was one ‘big’ topic, but I saw a lot of games that felt very personal, things based on the designers’ own lives or lifestyles.

“It felt like more games than ever had a message to send or a story to tell. It was really nice to get a glimpse into the designers’ lives and see what’s important to them through their work.”

The 2026 Cardboard Edison Award is its second since the organiser revealed it was changing its judging process, after a backlash over a colonisation-themed winner from 2024.

Suzanne and Chris Zinsli said it “became clear there was a blind spot in our judging process” after the response to the prize being given to Crowded Frontier, which was themed around the rush to colonise the American West.

Speaking to BoardGameWire this week about the impact of those changes, Suzanne Zinsli said, “I’m going to cautiously say I think the changes have helped, since we didn’t see any similar issues last year.

“As for the future, I’m sure things will continue to evolve. There’s nothing on the books right now, but as the industry and society change, we want to keep up.

“I’m also realistic, and I’m sure we’ll mess something up again at some point. But when we do, we’ll course-correct. We’re ready to change as needed.”

In terms of advice for potential future applicants, Zinsli told BoardGameWire, “If I had to pick one thing to focus on: have your game blind (or unguided) playtested.

“Every year, I read rulebooks where I simply can’t figure out how to play. That really hurts your chances! You might have a fantastic game, but if I can’t play it without you there to teach me, I’ll never know how good it is.

“On the flip side, the biggest thing to avoid is ignoring the three-minute video limit. We ask for three minutes, but we often get videos that are seven, 10, or even 20 minutes long. Also, don’t send us a video from five years ago.

“If the video hasn’t changed in five years, it makes me think the game hasn’t made any progress either. We want to see the current version of your work!”

This year’s finalists will now enter a second round of judging in order to crown the winner, with a champion usually announced in May of each year.

Last year’s award was won by Dot Com, an economic strategy game which uses an app to run players’ money supplies down in real time.

The game, designed by former Ravensburger game development intern Sammy Salkind, puts players in the shoes of startup founders battling to build their internet startups during the dot-com bubble of the late 1990s.

—

Cardboard Edison finalists 2026:

Astrolabe by Yasaman Farazan
2-5 players
45-90 minutes
Players are exorcists in a Persian folklore world, using astrolabes to read the stars, hunt
demons, and bind them into artifacts. Each round, players secretly rotate their astrolabe to
choose an action, a number, and a time of day, then reveal and resolve actions in ascending
order.
Pitch video

Black Ruth of Dogtown by Keith DeViere Donaldson
1-4 players
30 minutes
Black Ruth of Dogtown is a procedural oracle system driven by a circular mancala drafting
mechanism, where players construct a three-by-three grid to optimize set collection and
speculative scoring in service of a final narrative divination resolution.
Pitch video

Braggin’ Wranglers by Luke Wolyncewicz
2-8 players
15 minutes
Braggin’ Wranglers sees players catching animals to score points using a unique adjustable
lasso—but there’s a twist! Turn order is decided by your lasso size, which you secretly set at the
start of each round!
Pitch video

Catacombes de Paris by Nicholas Henning
2-5 players
70-110 minutes
In Catacombes de Paris, players take on the solemn duty of transporting the remains of millions
through the bustling streets of 18th-century Paris to build their personal ossuary in the famed
Catacombs. This highly thematic experience combines a strategic pick-up-and-deliver system
with an engaging polyomino mini-game for building out your ossuary board.
Pitch video

Deductive Seasoning by Eric Ledger
2-5 players
20-40 minutes
Deductive Seasoning is a family-friendly deduction card game where you are a food scientist
who has concocted a dish using a secret ingredient from the Periodic Table of Flavor. You must
figure out other players’ secret ingredient through careful play and observation.
Pitch video

Goa Kranti by Andy Desa
2-4 players
60-90 minutes
A cooperative game about an overlooked chapter in history: Goa’s struggle for independence
from Portugal (1932-1961). Players embody historical freedom fighters choosing between
violent resistance and peaceful satyagraha. Core mechanisms include push-your-luck resource
gathering, deck improvement, and bag-building for a pivotal mid-game check when India gains
independence.
Pitch video

Hatchlings by Alan Leduc
2-5 players
30 minutes
You’re a Nature Spirit with one job. Get your baby sea turtles out of their comfortable nest,
across the beach, and into the water where they belong, thus earning praise from Mother
Nature. It would be easy if it weren’t for the relentless bully Steven Seagull and the other Spirits
competing for glory.
Pitch video

Hybrid Hijinks by Jena Keesee
3-5 players
60 minutes
A competitive game, creating hybrid creatures and utilizing variable, configurable player powers
to impress visitors and earn the most approval for shifting prowess.
Pitch video

Ladybugs by Michael Posada
1-4 players
30 minutes
Push your luck by rolling dice that represent a colony of ladybugs flying over a field of flowers.
Your rolls determine which flowers you add to your garden, which scoring conditions you unlock,
and how many points you earn.
Pitch video

Limelight by Cameron Fleming
3-6 players
45 minutes
Limelight is a push-your-luck deckbuilder about staging a Broadway show. Over three Acts,
you’ll audition talent, hire crew, and rehearse your show, trying to achieve the perfect mix of
cards on Opening Night.
Pitch video

Match Patch by Jack Rosen
3-5 players
20 minutes
Match Patch is a game about the benefits of farming using companion planting methods.
Mechanically, it is a card-matching race game where players try to diversify their harvested
crops.
Pitch video

Midnight Spawn by Jayson Farrell
1-4 players
60 minutes
Midnight Spawn is a game about the mysterious and incredible deep sea. In this game you’re a
researcher in your deep-submergence vehicle, or DSV. You’ll discover strange creatures and
observe them eat or move other creatures, manipulating the shared board. You can also
upgrade your DSV with tech cards or boost your score with research cards.
Pitch video

Moonforge by Pawel Owsianka
1-4 players
90 minutes
In Moonforge, players command large space facilities capable of capturing asteroids, extracting
valuable resources (energy, metal and minerals), and upgrading their operations with new
modules and functions. Resources can be sold for currency points, while depleted asteroids
contribute material toward the creation of a new moon.
Pitch video

PiramiDuel by Guillermo Viciano
2 players
20-30 minutes
A game for two players where you will explore Ancient Egypt, fighting to claim the most
influential pyramids.
Pitch video

Possessions by Dan Nichols
2-4 players
60-90 minutes
Possessions is a competitive strategy game where you play as ghosts with one hour to finish
your unfinished business and fulfill your final wishes. As the clock ticks down, strive to get the
most value from your secret ambitions by possessing your family’s last living heirs.
Pitch video

StrongHolds by Nelson de Castro
2 players
40-60 minutes
StrongHolds is a competitive castle-building game featuring magnetic tiles that allow players to
build vertically unlike any other game. Harness your creativity and vision as a Medieval
Architect, while sabotaging your opponent by tossing and sliding siege tiles to topple their
progress.
Pitch video

The Leftovers by Larry Ted McBride
2-4 players
25 minutes
The Leftovers is a cooperative trick-taking game of community deck-building, resource
management, strategy, and story. With your party of magical foodfolk, you will work together to
complete objectives and avoid vicious food fiends as you explore the abandoned halls of the
Enchanted Ladle.
Pitch video

The Roots of All Evil by Dean Burry
2-4 players
15-20 minutes
Be the first animal cultist to summon the tree demon Blackthorn by creating ever-expanding
rings of root cards in which to place your sacred offerings.
Pitch video

The Wedding Planner by Jose Lema
2-4 players
60-90 minutes
You just got engaged! Now you have 12 months to plan the wedding of your dreams. The
Wedding Planner is a medium-weight strategy game that captures the authentic pressure of the
process: an overwhelming workload, finite resources, and the constant tension between vision
and reality.
Pitch video

Wunderkammer by Rosco Schock
2-4 players
45 minutes
Wunderkammer is a set collection style game with a unique simultaneous silent auction
acquisition mechanism. Each curiosity that you collect also has two attributes so the scoring of
your collection is scored in each dimension.
Pitch video

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I am not a huge fan of puzzles. If I have time to myself, I prefer to play video games or a solo board game. Sarah (my wife) LOVES puzzles and would rather work on a puzzle during her downtime. When not watching movies or Netflix, we play about one board game a week together, […]

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Hello and welcome to ‘Focused on Feld’. In this series of reviews, I am working my way through Stefan Feld’s entire catalogue. Over the years, I have hunted down and collected every title he has ever put out. Needless to say, I’m a fan of his work. I’m such a fan, in fact, that when I noticed there were no active Stefan Feld fan groups on Facebook, I created one of my own.

Today we’re going to talk about 2025’s The Sandcastles of Burgundy, his 44th game. The Sandcastles of Burgundy (Sandcastles) stands out from all of Stefan Feld’s other designs in two notable ways. Firstly, this is Feld’s first foray into designing a children’s game. Secondly, this is Feld’s first co-design with his wife Susanne who, as an elementary school teacher, brings her professional experience with children to bear, working with Feld to simplify the game down into the experience it is today.

In Sandcastles, a foreign dignitary, Queen Crab, has announced her intention to come visit your kingdom. As a way to show her gratitude for you being such a gracious host, she has sent ahead some beach-themed decorations from her kingdom and has asked that you decorate your village in preparation for a beach party that she plans to throw when she arrives. Sandcastles…

The post Focused on Feld: The Sandcastles of Burgundy Game Review appeared first on Meeple Mountain.

I’m a big fan of weird dueling games—Ortus Regni is one of my all timers—and if they allow for multiplayer silliness, all the better. Etherstone manages to be a complete product, thoughtful, novel, and at times, surprisingly clever. If nothing else, it gets props for not just being a blatant money-grab, instead offering a self-contained and compelling game that has a lot of depth.

The conceit

The lore of Etherstone is not that compelling, mainly because the art is so expressive that I don’t really end up caring much about whatever the story is. It’s evoking druids and biopunk—wild and crazy characters collecting various blobs of mana and using them to bring in more characters so you can battle shared threats, etc., etc.

Mechanically, at the beginning of the game you’ll select a leader card from two that you’re dealt randomly. This will give you a starting distribution of resources. From there, you’ll draft seven cards from a large deck. Once you’ve done both of these things, it’s time to duel.

Etherstone captures one of my favorite underutilized mechanisms in gaming—the point buy. Though it’s a standard card draft that you see in many games, the fact that you’re only getting seven cards to play the entire session with…

The post Etherstone Game Review appeared first on Meeple Mountain.

Discover two designs from Mozaic Games and JollyKin Games

Continue reading on Board Game Beat LLC | W. Eric Martin

It’s in my nature to appreciate wallets. I own a couple dozen of the things. One for carrying money and eleven-year-old gift cards to defunct smoothie chains, the rest for microgames from Button Shy.

This latest batch includes something experimental, something from a designer whose previous work I’ve loved, and something that’s really just a bigger board game compressed to fit into a wallet. That’s gotta be a home run, right?

Right?

Downtown Las Palmas

I appreciate a surfaceless game now and then, especially on long flights or while sitting in hotel rooms with tables that barely fit their obligatory lamp. In theory, Erica Pinto’s Downtown Las Palmas is one such game. You’re building a city in the palm of your hand, stretching those finger-webs to maximize real estate. The more cards you stuff into your mitts, the better, earning points not only for volume of cards, but also for every highlighted feature. Along the way, there’s some variability thanks to objectives printed on the back of every card. Stuff like “Traffic Jam: +2 points per vehicle” and “Urban Sprawl: +10 points if there are 7 or more cards with visible ground.”

Sadly, it doesn’t work.

I have wide hands. Not as wide as my friend Chris’s — everybody in our high school group called him “gorilla hands,” they were that massive — but big enough to comfortably reach an octave plus three on the piano. And I can barely hold these things. Maybe it’s the linen finish. Maybe it’s the game’s directives, which require ground-level streets to align and the sky to not intrude like some dimensional rift in front of another structure. These are necessary rules; to function as a society board game, you’ve gotta have rules. Or maybe it’s just my slippery fingers. But whatever it is, the entire thing slides to pieces the instant I’m holding more than four or five of the things.

There’s an alternate way to play. Cards can be arranged on the table, spaced between your session’s chosen objectives. This allows some glimpse of how Downtown Las Palmas is meant to function. The buildings that sprout from the concrete jungle, punctuated by slants of blue sky. The signs over the signs, the awnings and cats perched in impossible places. It’s a lovely thing to see come together.

Playing this way, though, I can’t escape the notion that this isn’t how Downtown Las Palmas should work. Probably because it isn’t. Sure, this is an official variant. But there are other small games about overlapping cards, many of them also published by Button Shy.

In the end, the game remains a lovely concept. Maybe I’ll get to try something else from Pinto before too long.

Phantasmic

Phantasmic is the smallest of Marceline Leiman’s games, which is saying something when the others are High Tide and Heavenly Bodies. It’s the smallest in terms of rules footprint as well. The game is dead simple.

Picture a magical duel. That can’t be hard; heaven knows we’ve witnessed a bazillion of the things. One player is the Leader, a face-up spell before them on the table. The other is the Rival; their card goes face-down. At this point, the Rival announces whether their concealed spell is stronger or weaker than the Leader’s. A spell’s strength is a changeable quality, dependent on its rank and its spellbook’s position in relation to two others. The Leader declares whether they believe the Rival is lying or telling the truth. The hidden card is flipped. Everyone oohs and aahs.

Like I said, Phantasmic is simple. Perhaps too simple. At first brush, it feels almost like a coin flip. I say something, you determine whether I’m lying.

But if Phantasmic is a coin flip, it’s a heavily loaded one. The placement of those spellbooks, the various rankings, even any previously played cards, all add to the game’s texture. A coin flip comes down to 50/50 odds; here, the likelihood that my spell is stronger than yours might be rather slender indeed. It helps that certain cards alter the outcome by swapping those spellbooks before the duel is decided.

So it’s a game of probabilities and bluffing in equal proportion. Given the game’s 18-card format, it helps that the card pool is knowable. Button Shy always offers little expansions, in this case a fourth set of spells; it isn’t enough to throw the calculations into disarray, but it does loosen up the probability a little bit.

Okay, so it isn’t quite as vacuous as a coin flip. But is it any good? Perhaps the best way to describe Phantasmic would be to say that I don’t mind it. I might almost use it as a five-minute tiebreaker, rather than a game’s default “whomever has the most leftover resources” or whatnot. But it’s so slight that I struggle to foresee any reason to nab it off the shelf rather than any number of other titles. Wallet games included.

Dustbiters: Pocket Edition

I remember being curious about Dustbiters a few years back, that collaborative design by Robbie Fraser, Jan Willem Nijman, and Terri Vellman, in no small part thanks to Vellman’s lovely pink-hued trashheap illustrations. It’s basically the sandstorm scene from Fury Road, all those cars gunning their engines and puffing propane-jelly, while being ripped apart by a duster wider than Texas.

To my delight, Button Shy’s Pocket Edition is Dustbiters, albeit in a smaller package and minus only a few cards that are immediately replaced by the expansion. When the original game hit the scene, I had no idea it was functionally a microgame itself, tallying a slender twenty-one cards. I might have even been irritated at seeing its contents floating inside a too-large box.

Right away, Dustbiters excels on multiple fronts. The artwork is perfect, of course, those little road-freaks guffawing as they tear across the wasteland. The gameplay is also no slouch. Six cards begin on the table, three oriented toward me and the rest facing you. Every turn offers three actions, whether spent moving vehicles up or down the line, triggering abilities, or deploying reinforcements to the melee.

From there, it’s a bloodbath. The goal is to be the last player with any cards on the table. Every turn will result in multiple casualties, and that’s if you’re shirking your homicidal duty. Thanks to the storm bearing down on your position, at least one car will be demolished at the conclusion of each turn. The only path to survival is sheer forward propulsion.

What a great little game. There’s some wonderful overlap between the vehicles’ appearance and their function, breeding a certain irradiated logic. There’s a Jammer with an old satellite dish wedged atop its minivan frame; it cancels the abilities of both adjacent cars. A repurposed steamroller can crush its neighbor, but only if its victim is sandwiched by another of your vehicles. A Ramp Truck lets you fling your car haphazardly to the front of the line. The blood-bag Max tethered to the front of the Martyr car may absorb any other hit.

Here’s something that tickles my fancy: quite often, designers stretch the microgame’s 18-card limit by pressing their cards into multiple duty. Each card has two sides and many orientations, after all. Dustbiters doesn’t need the help. All it takes is a conga line of murderous gas-guzzlers, some nasty time pressure, and a few simple rules. Five minutes is all it takes to play, but there’s more drama compressed into those five minutes than… well, than in certain nu-euros about flinging tourists into outer space.

Of the trio, Dustbiters is the clear frontrunner, which means it is the sole title to not be shredded by the wasteland storm of my judgement. Dustbiters, I verily witness thee.

 

Complimentary copies of Downtown Las Palmas, Phantasmic, and Dustbiters: Pocket Edition were provided by the designer.

(If what I’m doing at Space-Biff! is valuable to you in some way, please consider dropping by my Patreon campaign or Ko-fi. Right now, supporters can read about which films I watched in 2025, including some brief thoughts on each. That’s 44 movies! That’s a lot, unless you see, like, 45 or more movies in a year!)