France’s highest-profile board game prize, the As d’Or, has unveiled Paolo Mori and Alessandro Zucchini’s Toy Battle as the winner of its main award for 2026.
The family weight, toy-themed wargame fought off competition from Flip 7 and Rebirth to scoop this year’s prize, while Stefan Feld design Civolution won out against Arcs and Ants to win the expert game award.
This year’s As d’Or saw a significant change to its rules, with organisers requiring entries to name artists on the game boxes for first time.
Paul Mafayon was the artist for Toy Battle, while Civolution was illustrated by Dennis Lohausen, Zenith by Xavier Gueniffey Durin and Mooki Island by Mélanie Bardin, also known as Seppyo.
The award, which traces its history back to 1988, has required entries to show designer names on their game boxes for several years, in addition to requirements for the game to be published in French and available in the French market during the preceding year.
A statement from Philippe Mouret and Julia Marcelin, both heads of studio at Toy Battle publisher Asmodee, said “Tonight’s recognition first belongs to the authors and illustrator whose talent and vision brought Toy Battle to life.
“We also want to thank all the teams involved for their dedication, as well as the Festival’s jury for this distinction. This award is a wonderful acknowledgment of the creativity and vitality of today’s tabletop industry.”
It added, “It also reflects the current trend: playing games as a couple, and smaller-format games are appealing to the public, and publishers are offering more and more of them.”
Viking-themed card shedding game Odin won last year’s As d’Or, while city-building eurogame Kutná Hora triumphed in the Expert Game category at the 2025 awards, Operation Noisettes won the children’s game prize, and Behind scooped the “Initié” award – which targets regular board game players ready for more challenging mechanisms.
The As d’Or was launched 38 years ago to highlight the best games available at France’s Festival International des Jeux in Cannes. The award was merged with the Jeu de l’Année in 2005.
More than 100,000 people attended this year’s FIJ between February 25 and March 1, down on the record 110,000 admissions across the five-day event last year.
The 2026 As d’Or Awards
As d’Or
Winner: Toy Battle, designed by Alessandro Zucchini and Paolo Mori, published by Repos (Asmodee) Flip 7, Eric Olsen – Catch Up Games Rebirth, Reiner Knizia – Lucky Duck Games and Mighty Boards
As d’Or-Jeu de l’Année – Enfant / Children
Winner: Mooki Island, Florian Sirieix – Le Scorpion Masqué Archeo, Thomas Favrelière, Adrien Pédron – Gigamic The Twisted Spooky Night, Wolfgang Dirscherl, Wolfgang Lehmann – Drei Magier Spiele
As d’Or-Jeu de l’Année – Initié / Intermediate
Winner: Zenith, Grégory Grard, Mathieu Roussel – PlayPunk First Rat, Gabriele Ausiello, Virginio Gigli – Pegasus Spiele Take Time Alexi Piovesan, Julien Prothière – Libellud
As d’Or-Jeu de l’Année – Expert / Expert Game
The supreme discipline for all strategists and frequent players.
Winner: Civolution, Stefan Feld–Grail Games, Deep Print Games Arcs, Cole Wehrle – Leder Games Ants, Renato Ciervo, Andrea Robbiani – Cranio Creations and Intrafin
Board game, TCG and comics distribution major Universal Distribution has agreed an exclusive deal with Dice Throne to become the sole distributor of the company’s products in the US and Canada.
Dice Throne games and add-on packs have previously been distributed by companies including Universal and ACD Distribution, as well as Alliance Game Distributors, which Universal acquired in May last year.
The dice and card-focused combat game has become a crowdfunding heavyweight following its original $180,000 Kickstarter project from Mind Bottling Games in 2018, going on to raise almost $13m across a string of subsequent campaigns.
Universal said the exclusive distribution deal “marks a significant step in supporting Dice Throne’s expanding presence in retail stores, especially as the brand continues to grow its Organized Play program and introduce new product formats designed to increase accessibility and drive community engagement”.
Dice Throne’s Organized Play program is designed to help stores build consistent communities and host recurring events, with kits on offer including promo items, prize support and products needed to run casual or competitive play.
The publisher has also recently introduced a new single hero pack format, with the aim of offering a lower entry point for new players and flexibility for collectors and Organized Play participants.
Dice Throne CEO Casey Sershon, who took on the top role at the company at the start of last year, said, “We are excited to partner with Universal Distribution as our exclusive distributor in the US and Canada.
“Their expertise and strong retail network will help bring Dice Throne to even more players across North America.”
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.
Still from the pitch video for StrongHolds by Nelson de Castro, one of this year’s Cardboard Edison Award finalists
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.
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.
Cardboard Edison co-founder Suzanne Zinsli
“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.”
Still from the pitch video for Braggin’ Wranglers by Luke Wolyncewicz, one of this year’s Cardboard Edison Award finalists
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.
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.
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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
Cardboard Alchemy has taken the next step in its rapid expansion by shifting to distribute its own games into retail, powered by the evergreen success of its dragon-themed design Flamecraft.
More than 400,000 copies of the worker placement game have now been sold, company co-founder Peter Vaughan told BoardGameWire, creating an early smash hit which has underpinned Cardboard Alchemy’s growth since the game’s $2m Kickstarter campaign five years ago.
Vaughan said Flamecraft “and the fans that love it” had been a “game changer” for the company, allowing it to quickly expand from its original two-person team of Vaughan and fellow co-founder Brad Brooks, and paving the way for subsequent successful releases such as Andromeda’s Edge and Critter Kitchen.
He said, “We knew soon after the first crowdfunding campaign that this game would be an evergreen game in our line. At that point, we committed to making more promos, an expansion, merchandise that our fans wanted, and have started work on a standalone sequel game, FlameBound.”
The publisher has decided to make the two-player travel-friendly title its first to be self-released and distributed into retail, ending a five-year partnership with Lucky Duck Games and its worldwide localization and licensing division GPN.
Flamecraft Duals || Kickstarter image
The new system sees it enter a partner programme with publisher Allplay, in which Cardboard Alchemy will handle and manage its own retail sales, distribution, conventions and localization, with the latter providing global warehouses, pledge management and e-commerce services.
Vaughan said, “We are excited that retailers can get access to our games and other publishers’ games in one hub, for optimum savings”, adding: “The biggest challenges so far are the ramp up of logistics, operations and sales responsibilities.
“This can be a tough task for a mostly creative team, but we have the players in place and have taken our time to implement this stage.
“We know there will be many things to learn along the way for our small company, but we feel our great games will continue to thrive in retail environments.”
Part of Cardboard Alchemy’s expansion to direct retail has included the recent hire of Patrick Fitzgibbon as hobby retail manager, following seven years of sales at companies including Genius Games, Elf Creek Games, Greater than Games and, most recently, Quartermaster Logistics.
The team also includes Nicole Cutler, who joined the business as director of operations at the end of 2024 after several years working on production and logistics at Arcane Wonders and Pandasaurus Games.
Cutler said that demand for Flamecraft Duals had “far exceeded even our expectations” ahead of its official January 28 release date, with the company moving forward with a third print run of the game before it was even available in wider retail.
That confidence was partly inspired by Cardboard Alchemy’s picking up a big early win in the mass market, with the company agreeing a deal with retail giant Barnes & Noble to get the game on its shelves from early last month.
Vaughan told BoardGameWire, “It is a thrill to see our third title in Barnes & Noble. There has been such a growing diversity of games carried by this strong player in the mass market space.
“Flamecraft and Critter Kitchen are on the shelves at B&N and it seemed a natural fit to add Flamecraft Duals to the party.
“We are honored that Barnes & Noble would commit so early to Flamecraft Duals, and place it prominently in their stores to start the year.”
For global distribution, Vaughan said, “Cardboard Alchemy localized our games previously via the Global Publishing Network, a part of Lucky Duck Games.
“We are thankful for that network, as it has placed Flamecraft in 25-plus languages, Critter Kitchen in a ‘baker’s dozen’ of regions and Andromeda’s Edge in 11 languages so far.
“We now look to work with these publishers directly and invite more partnerships worldwide to distribute our titles.”
Those partners will include existing Cardboard Alchemy collaborator CrowD Games, which previously localised Flamecraft into Russian via GPN, and will now do so for Andromeda’s Edge, Critter Kitchen and Flamecraft Duals.
Manny Vega design Flamecraft, published by Cardboard Alchemy
Like many overnight successes, Cardboard Alchemy’s was actually multiple years in the making. The company was launched by Vaughan and Brooks in 2020 after years of collaboration between the pair across Vaughan’s indie design and development studio Squirmy Beast and Dwellings of Eldervale publisher Breaking Games.
Squirmy Beast partnered with Breaking Games to publish Letter Tycoon in 2015 – with Vaughan providing some of the artwork – and a year later Vaughan joined Breaking as director of development, overseeing games including Brooks’ Rise of Tribes.
Cardboard Alchemy’s first Kickstarter, for Mission Catastrophe in 2020, raised just over $100,000, before the success of the Flamecraft campaign a year later catapulted the company into ongoing success.
The publisher’s next planned Kickstarter will see it crank up the complexity compared to its Flamecraft titles, with the launch of a campaign for Brooks’ co-design Whisperwood, a bag-building heavy strategy game, later this spring.
That game has been co-designed by Asking for Trobils designers Erin McDonald and Cardboard Alchemy developer Christian Strain, the latter of whom also co-designed the solo mode for Critter Kitchen.
Vaughan said, “We’ll be planning over-the-top production (as usual), bringing everything we know about game production to date to the forefront of crowdfunding.”
Asmodee posted record sales of €524m during the last quarter of 2025 despite a slump in its US performance, with trading card game earnings in Europe acting as a driving force for the business.
The board game giant’s overall net sales jumped 22.2% across October to December 2025 compared to the same period a year earlier, with the performance of products it distributes for other companies surging more than 50%.
Net sales for games published by Asmodee itself fell almost 13% year-on-year in the quarter, however, weighed down by US net sales slumping 23% to €70.4m.
That drop saw the US fall behind both France and the UK in Q3 in terms of the company’s highest-performing countries for net sales, with France surging 47% year-on-year to over €111m, and the UK growing 41% to €82.7m.
The US had previously outperformed all other countries for Q3 net sales for at least the past two years, Asmodee’s quarterly sales results show. Prior to that, individual country data for Asmodee was not publicly released while under former owner Embracer Group.
Asmodee CEO Thomas Koegler said in the company’s latest quarterly report that successful TCG releases in Europe across Pokémon, Magic: The Gathering and One Piece had driven the record Q3 results.
He added that lower sell-in to larger retailer for some of its own products had contributed to the sinking US result in Q3, despite saying that “overall consumer demand on our products remained stable”.
Asmodee CEO Thomas Koegler
The company’ chief financial officer, Andrea Gasperini, added in the company’s Q3 earnings call that “unfavorable FX exchange rate exposure since the beginning of the year” was also to blame, as was a “normalising” of the performance of Asmodee’s own TCG Star Wars Unlimited compared to its launch year of 2024.
Koegler added during the Q3 earnings call, “Let’s remember also that the beginning of the year has been quite shaken up in everybody’s supply strategies – ours, the retailers – by the various announcements on the tariffs. And I think that it has been a constantly evolving situation where I’m quite proud of how the teams reacted.
“Once we’ve said that, of course, let’s not underestimate the impact of foreign exchange, which is quite material in the decrease. And secondly, what’s important to look at beyond our own sell-in performance, which is what we sell to retailers, is the sell-out.
“As I did say we have, since the beginning of the year, overperformed the market, and even in Q3 it was a quarter for the Christmas period that was very much focused on lower price point products. We captured very strong growth with Exploding Kittens and did have some headwinds on higher price point products.
“But I would say in the grand scheme of things: first of all, it’s fine, our portfolio is diversified, and secondly, it’s limited to the US, so we should expect some better trends in the future.”
When asked in the Q3 earnings call how confident he was in Asmodee’s own studios’ ability to return to growth, Koegler said, “Yes, we had some negative developments on the games, but if you look at the sellout, which is the sales to consumers in the US, for instance, the market was relatively flat, and our sellout was in line with this, which means that we still have positive outlooks for the future.
“Our performance was impacted, especially by, I would say, some inventory positions and retailers’ purchase strategies. Now, if we look forward, first of all, the vast majority of our revenue is coming from existing titles. That’s the first thing that’s important, and we are constantly working on engaging consumers on those.
“You saw the recent announcements on Catan and Ticket to Ride with Netflix, all of this with the objective to further increase brand awareness and visibility, and in the future, generate additional sales.
“If we look at some of the products we’re looking forward to in terms of new releases for next year, we have announced the new LEGO game in the Ninjago franchise being released the same time as the Ninjago anniversary.
“We have Azul Kids coming out. We have Dino Picnic, we have the future sets of Star Wars Unlimited. We have a refresh of Ticket to Ride Europe. So I would say that it will be still an active year.
“What’s important, if you look back at the historical performance of Asmodee, is that some years it’s strongly driven by trading cards, and in the other years, usually when trading cards are less strong, you have a relay that’s coming from board games.”
Asmodee CEO Thomas Koegler was asked during the company’s quarterly results presentation whether the company was ready to make “more meaningful” acquisitions rather than small bolt-on deals.
He said, “Without being specific, the activity in the pipeline is in accordance with our plan. The smaller acquisitions are faster. IP acquisitions and asset deals are faster to execute. I’m satisfied.”
Board game crowdfunding major CMON has continued its battle to recover from heavy losses by selling Sheriff of Nottingham to Asmodee – its third IP sale to the company in the past eight months.
The bluffing and set collection game will become part of the Z-Man Games studio, a spokesperson for Asmodee told BoardGameWire, joining titles including Pandemic, Citadels and Love Letter.
CMON bought Sheriff of Nottingham from Brazilian publisher Galapagos Jogos in 2016 following the success of the English version of the game, published by Arcane Wonders two years earlier as the first game in the Dice Tower Essentials line – games Dice Tower founder Tom Vasel “personally loves and believes should be an essential part of any gamer’s collection”.
CMON announced towards the end of last month that more IP sales could be on the way, alongside making an apology for delays to its outstanding crowdfunds – some of which are now running almost two years beyond initial delivery estimates.
More details on the effectiveness of CMON’s fight to stem its losses should become clear by the end of next month, with the publisher required by Hong Kong stock exchange rules to submit its annual results by that date.
Asmodee’s reignited acquisitions strategy, meanwhile, has so far been limited to the three IP purchases from CMON – a far cry from the explosive growth the company undertook after being bought by private equity firm Eurazeo in 2014.
Its previous buying spree saw it acquire more than 40 companies and IPs, including over 20 game studios such as Days of Wonder, Fantasy Flight Games, Lookout Games, Catan Studio and Z-Man Games.
Asmodee CEO Thomas Koegler was asked during the company’s quarterly results presentation yesterday whether the company was ready to make “more meaningful” acquisitions rather than small bolt-on deals.
Asmodee CEO Thomas Koegler
He said, “Without being specific, the activity in the pipeline is in accordance with our plan. The smaller acquisitions are faster. IP acquisitions and asset deals are faster to execute. I’m satisfied.”
He added in response to a later question about Asmodee’s acquisition plans, “Our M&A engine is nicely running up. I will not comment on specific ongoing projects, but as I did say, I’m satisfied with what we have in the workings.
“What we’re looking for, as you asked, is in priority studios and intellectual properties, because we already have a very strong distribution reach. And then maybe to complement some distribution reach here and there, depending on the strategic advantages this would provide us in specific territories.
“But again, I think the priority is on IPs and creative capabilities, which is what we have been delivering up until now.”
Speaking on the Sheriff of Nottingham acquisitions, an Asmodee spokesperson told BoardGameWire, “Sheriff of Nottingham is a well-established evergreen card game centered on bluffing, negotiation, and high player interaction.
“We believe this game will be complementing and strengthening our existing portfolio within our social playtype, a category that is growing.”
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