Legacy games have probably had their golden days. They were something new that hadn't been done before in our hobby. They promised a unique experience of a game that would change as you played it. Not only that, the change would be permanent, requiring you not to only remove components, but actually destroy them, or put stickers into the rulebook, onto the main game board or otherwise apply them to make an irreversible change to the game. However, as exciting as the idea was, it never sat comfortably with me. In this article, I want to talk about this in more detail.

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You've been woken from hypersleep. You're still a bit groggy, but it is clear something has happened. Something important. As the captain, you can't waste too much time. You have to get up to speed quickly. As your crewmate gives you a sitrep, it becomes clear that you have to act quickly. It's time to Escape Comics: The Alien Ship by Douglas Beech and Evan Duxbury from Jumping High Five Games with art by Maria Becvar.

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Gatekeeping has long been a concern within the board game hobby. For decades, our hobby was shaped by small communities, often dominated by white men of a certain age. They decided who was allowed to call themselves a board gamer and who couldn't. However, as the hobby grew, it also became more diverse. Nowadays, welcoming newcomers and making the hobby accessible to a wider audience has become a highly important goal, a goal which I strongly support and feel very passionate about. Unfortunately, some people have started to use the term gatekeeping in such a way as to become gatekeepers themselves. In this article, I want to look at this paradox more closely.

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A pair of mirrored birds lean towards one another, their colours bright, but soft. If you look closely, you can see that their bodies are forming a heart. Nearby, Kueh, delicate sweets, sit arranged with care. Judging by their colours and shapes, they promise wonderful flavours. Each one tells a story of ancient traditions and of the practised hands that shaped them. It is a quiet celebration of heritage and harmony, of the culture of Peranakan: Tiles and Tactics by Eugene Lim from Genie Games with art by Eugene Lim.

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Hello everyone! I'm Eugene, founder of Genie Games and creator of Rats to Riches, Peranakan: Tiles and Tactics, and Singapore Showdown. This is my first time ever writing a guest blog, and I'm incredibly honoured to be given this opportunity by Oliver to share my story with you. As the title states, I'm 29 years old as of writing this. Nine months ago, I quit my job as a Singaporean Navy Officer, to start my own company to design and publish board games full-time. How did I end up here? Well, the answer to that goes back 20 years ago.

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Bargello designs are built from vertical stitches, laid in sequence so that colours rise and fall, creating flowing waves, shifting flames, or soft gradients that almost seem to move across the fabric. Used in ornate upholstery in 17th-century Italy and applied to chairs and other furniture, these patterns require precision and concentration. Even a single misplaced stitch will completely break the rhythm. As a highly-skilled embroiderer, it is up to you to make sure your needle is correctly Threaded: A Game of Needles and Points by Ellie Dix from Osprey Games with art by Maria Surducan.

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The inner courtyard goes completely quiet as dusk falls. Lantern light flickers softly against white walls and dark timbers. Servants move soundlessly like a gentle breeze, tending to gravel paths and manicured trees. Deeper inside the fortress, careful whispers of politics and ambition drift through the great halls. Everything feels deliberate, and every offering is carefully chosen to seek favour in a world where position is everything. Beneath that calm surface lies quiet competition, subtle manoeuvring, and the constant need to prove one's own worth within The White Castle by Isra C.and Shei S. from Devir with art by Joan Guardiet.

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The salty air filled our lungs as gulls circled above the quayside. The harbour was alive with excited voices and the clinking of coins. Ships came and went, their hulls heavy with stories of distant islands and dangerous encounters. Somewhere beyond the horizon lay our opportunity to make our fortune through trade, charm, or even force. As we stood at the edge of the dock, we mapped our routes as we were Islebound: Emerald Edition by Ryan Laukat from Red Raven Games with art by Ryan Laukat.

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A cold wind carried the smell of ash across the fields as the last light of day faded behind the hills. Villages that once echoed with laughter now stood silent, their streets empty. Travellers spoke of strange sights on gloomy roads, shapes moving in the mist, and friends who no longer recognised each other. Somewhere in the land of Aelrathia, a dark mind gathered strength, raising the fallen and bending the living to its purpose. If the rumours were true, an army of the dead would soon march across the land. There was only one thing left to do. We had to venture out and face the Legion of the Necromancer by James Gill from Hammerforge Chronicles with art by James Isaacs.

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In the kingdom of Pilipalod, a wild, evil magic had erased the royal castle, leaving only the foundations visible. Queen Blodwen, King Llew, and Princess Dillie surveyed the empty hill where their home once was with some despair, but mostly patient resolve. Word of the disaster spread, and soon magical creatures gathered to offer their help, and the finest designers of the Magical Architect Alliance arrived, promising that a new home would rise again. Their first task was to rebuild the Flip Pick Towers by Rob Fisher and Adam Porter from Osprey Games with art by Beatrix Papp.

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The last time I played 1860: Railways on the Isle of Wight, I found myself in the lead from fairly early on. As the game progressed, that lead only kept growing. Each round, the gap widened until it was clear that nobody had a realistic way to catch up with me. The game carried on, turns were taken, but the excitement and tension had gone. The game had become a fight for second place. I call this soft elimination, and it is especially common in longer games, when you are technically still playing, but no longer really competing. In this article, I want to talk about this a bit more.

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Surf was up. We had already checked out Mavericks, Praia do Norte and Mullaghmore Head. All that was left was to ride the big breakers at Pipeline. We couldn't wait to show off our best tricks and compete with each other to score the most admiration. It was time to swim out and get on the next Big Wave by Daniel Kenel from Little Dog Games with art by Justin Santora.

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Ryan Dancey was, until last Wednesday, the Chief Operating Officer at Alderac Entertainment Group (AEG). On LinkedIn, the self-help site for managers who want to tell each other how great they are and how little their subordinates/customers appreciate them, Dancey published a post (link to a photo of the post, because I do not link to LinkedIn) in which he explained that he is firmly convinced that AI (or rather the LLMs that are usually labelled as AIs) will, in just a few years, be as useful as any employee.

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Cards were wildly flying through the air. People were taking turns aiming their cards at the target in the middle of the table. It all looked frightfully confusing, but everyone was happy. Choosing the best card was hard enough as it was, but flicking it correctly seemed impossible. For the cards, it was certainly a Tricky Landing by Mike Petchey from Huff No More with illustrations by Edie Petchey.

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Historical board games occupy an awkward space in our hobby. They are usually not designed to teach history in any formal sense, and they are also not entertaining in the sense of being fun. These games stop short of education, offering no syllabus, no claims of being a detailed treatise of their setting, and no obligation to explain themselves. The subject matter historical board games draw on, war, exploitation, inequality, famine, and systemic violence, doesn't suit the lightness or escapism people often expect when playing board games as a leisure activity. The result is a form of play that somehow feels serious but incomplete. In this article, I want to explore this in more detail.

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The sea relentlessly froze around our convoy, tightly squeezing the ships' hulls, as if it was testing our resolve. The other ships were holding formation, their tall masts and limp sails dark against the brooding grey sky. We had been entrusted with mapping new shores and documenting new species, financed by men who expected their names to be remembered forever, with ours only featuring as footnotes. Yet, our minds only thought about fuel and food, and storms that could spoil both. We each commanded our own ship, yet we were bound together by the same horizon, as we made our way Through Ice and Snow by Fernando Eduardo Sánchez from 2Tomatoes Games with art by Pedro A. Alberto and Araceli Martín.

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Finding the time to play board games can be difficult. Working out which games to play in the time you've got together is often even harder. Mostly, that's down to what games players are in the mood for. Sometimes they want a very deep, thinky game that requires a lot of attention. At other times, a lighter game might be preferred. Setting can also play a role. Yet, what is often the ultimate decider is game length. Knowing when a game will end is helpful in that respect. So in this article, I want to talk about games with fixed rounds and compare them to games with endgame triggers, but no other hard limit.

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The air thins with each step, and talking becomes almost impossible without a rest. The mountain is relentless, and so are those intent on beating it. Reaching the peak requires patience and knowing which route to take and what to leave behind. No one climbs alone, and no one fails alone either. The summit awaits and promises unmatched Tranquility: The Ascent by James Emmerson from Lucky Duck Games with art by Tristam Rossin.

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Let me be clear from the start: there is no such thing as a "good game". I know, it sounds controversial. After all, at the end of every year and often many times during the year, lots of people publish lists of the best games and regale you with how "good" these games are. If you're seen as the board game expert in your family circle or friendship group, you will be asked what "good game" they should buy or play next. Yet, "good" by itself is pretty meaningless - but let me explain.

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Staring at the art in front of them, next to a number of words, the group was trying to figure out which noun fit the paintings best. Someone read out a single word and explained their theory. Suddenly, everyone wanted to share their own opinion, some confident, some cautious. I listened to what everyone had to say. Only I knew which word was the right answer. After all, I had chosen it, based on The Vibe by Jacob Jaskov from Uloomi.

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