Das Sammelkartenspiel Disney Lorcana ist nicht mehr so beliebt. Das hat Auswirkungen auf den Umsatz von Ravensburger. Er ist 2025 gesunken. Der Umsatz von Ravensburger ist 2025 laut Unternehmen um 5,9 Prozent auf 744 Millionen Euro gesunken. Während das Kerngeschäft mit Spielen, Puzzles und Büchern um drei Prozent zulegen habe, sei der Umsatz mit Sammelkarten nach der starken Startphase von Disney Lorcana gesunken. Pixar-Charaktere in Lorcana Der anfängliche Hype um Disney Lorcana habe sich auf einem hohen Niveau normalisiert. Konsumenten, die vor allem aus Investitionsinteresse eingestiegen waren, hätten sich vom Markt zurückgezogen. In seiner Kernzielgruppe der Spieler und Sammler erfreue

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Mensch ärgere Dich nicht, Bibi Blocksberg und Puzzles aus Graspappe haben Schmidt Spiele ein erfolgreiches Jahr beschert. Das Unternehmen steigerte seinen Umsatz 2025 um acht Prozent. Schmidt Spiele hat das Geschäftsjahr 2025 mit einem Umsatzplus abgeschlossen. Der Gesamtumsatz wuchs laut Unternehmensangaben um rund acht Prozent auf 61,5 Millionen Euro. Wie in der Branche üblich, erzielt Schmidt den Großteil des Umsatzes im letzten Quartal. „Fast 60 Prozent unseres Jahresumsatzes entfallen auf die letzten drei Monate“, sagte Geschäftsführer Axel Kaldenhoven dem Tagesspiegel. Gefragte Kinder- und Familienspiele Schmidt ist wie Ravensburger oder Kosmos mehr als ein reiner Brettspielverlag. Zum Sortiment gehören neben Puzzles

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Less is more for French board game publisher Super Meeple, which says its strategy of keeping a tight rein on the number of complex titles it releases each year is paying off in an industry rife with overproduction.

Super Meeple, which releases its own designs as well as localising major titles such as Ark Nova and Gaia Project, says it is planning a “downward trend” for the number of games it releases each year in order to help each title stand out in an increasingly competitive market.

The publisher said that of the nine games it released last year, excluding expansions and sequels, only one was a “failure” – civilization builder Beyond the Horizon, the follow-up to Dennis K Chan’s highly regarded 2020 release Beyond the Sun.

It added that its biggest success of 2025 was “undoubtedly” fantasy animal reserve game Wondrous Creatures, while the rest of its releases were “in line with our overall expectations”.

The company said in an annual review post on Facebook, “Everything mentioned here is obviously based on our experience, and perhaps others have a different perspective, but the observation is pretty much the same everywhere, namely that overproduction automatically leads to a decrease in the percentage of successful games.

“We are mostly responsible for overproduction: from authors who want to be signed to buyers who want something new, not to mention publishers who need to produce and shops/distributors who need to meet buyer demand.

“Some can afford to be less involved in this overproduction, with a few games in their catalogue that are huge successes. Of course, they are more relaxed and can afford to slow down their releases.

“However, this foundation is generally, if not always, supported by family games; games with ‘infinite’ sales potential. Unfortunately, this is not the case for us, except perhaps for Kronologic and Expeditions.

“But the pool of buyers for big games is very limited, and even if it were to grow each year (which we hope it will!), it would still be insufficient to keep a company running. Nevertheless, we are aware of this overproduction and try to limit the number of releases as much as possible.

“Excluding expansions, we released seven games in 2024 and nine in 2025. We plan to release nine in 2026, as we do not want to exceed ten per year, two in edition and seven or eight in localisation.

“The trend will be downward as much as possible, working as hard as we can on each game and crossing our fingers that they will be successful.”

Super Meeple added that while it was fortunate to have games that always sell well, such as its lighter range of Kronologic murder mystery titles and zoo-building heavyweight Ark Nova, it was seeing a slight slowdown in what it called ‘long sellers’, big sellers such as Gaia Project, Trickerion and Obsession which it described as “pillars” of its catalogue.

It said, “We still intend to keep them available in our catalogue, as new players of slightly heavier games like these need to know about them!”

Early last year Super Meeple said it planned to step up its own direct sales after struggling to get individual retailers to stock more than a handful of copies of each of its heavier games through 2024.

The new system for some of Super Meeple’s expert titles involves running more pre-orders on its own site for those games, which it says could increase its margin to up to €20 per game.

It also hoped to “strengthen engagement” with retailers by allowing them to pre-order during a commitment period defined by the distributor, with any remaining games sold through its own online store or other online marketplaces and unavailable for restocking by shops.

Super Meeple said that Galactic Cruise, the first and only game to go through that system last year, sold out of all 3,000 copies – 300 through web pre-orders, 600 to partners outside France and the remaining 2,100 to stores.

It said, “This is obviously excellent news and proves that the vast majority of shops have understood our philosophy and made a greater commitment, so… thank you!

“This scenario will undoubtedly not be repeated for every game, but this initial success shows that the solution can work.”

The publisher said it planned to repeat the process this year for its localisation of World Order, the follow up to multi-award-winning economic class warfare simulator Hegemony: Lead Your Class to Victory.

Super Meeple’s other releases this year are set to include Tikal Legend, Mythologies, Revenant, Life of Amazonia and Ayar, and the third instalment of Kronologic, Babylon 2500.

The post “We released nine games in 2025 and only one was a flop”: French publisher Super Meeple on how avoiding overproduction is proving a recipe for success first appeared on .

Asmodee übernimmt den Vertrieb ausgewählter Titel von Ulisses Spiele und der Ulisses-Marke Ottavio. Ulisses Spiele zählt zu den führenden deutschen Verlagen in den Bereichen Rollenspiel, Fantasy und Science Fiction. Zu den bekanntesten Reihen des Unternehmens gehören Das Schwarze Auge und Pathfinder. Ziel der Zusammenarbeit sei es, diese Titel über das Vertriebsnetz von Asmodee stärker im Fachhandel zu positionieren und ihre Sichtbarkeit langfristig zu erhöhen. „Wichtiger Schritt für mehr Aufmerksamkeit“ „Mit Asmodee gewinnen wir einen Vertriebspartner, der den Handel sehr gut kennt und unsere Programme strukturiert und verlässlich in den Markt bringen kann. Für uns ist das ein wichtiger Schritt, um

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When news broke three months ago that board game giant Asmodee had been named manager of the hugely lucrative Middle-earth licence for tabletop games and accessories, questions naturally abounded within the industry about what that would mean for other publishers hoping to create The Hobbit or Lord of the Rings-based titles. Luke Peterschmidt, the tabletop veteran tasked with running the Middle-earth operation at Asmodee, sat down with BoardGameWire at Spiel Essen following the announcement to outline his vision for the IP, what they want from publishers in terms of pitches, and how they hope to prove naysayers of the deal wrong.

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BoardGameWire: Hi Luke! So a good place to start would be: what were you doing prior to becoming Head of Active Category Management at Asmodee?

Luke Peterschmidt: Before this I was the senior vice president of all the tabletop games for Asmodee, which meant that I ran all of the studios in what we call the tabletop vertical. We have lifestyle – that’s our hardcore games. We have our social games, which are like our lighter party games, and then all the stuff most people think of as tabletop games – so that would be Space Cowboys, Rebel, Office Dog, Z-Man, there’s seven or eight others. So my job was to run all those studios.

I guess the major question about this is how will it work, specifically in terms of third parties coming to you guys saying: “I’ve got a lot of the Rings game. How do we progress?”

Yeah, that’s a great question. Can I back up and answer a different question first? Existing Lord of the Rings games – because there’s a lot of Lord of the Rings games that are not Asmodee that are out right now – nothing changes for them. They still work through [former Embracer Group arm Middle-earth Enterprises]. The thing that will change for them is that we, as Asmodee, in this new role are going to start doing activations, marketing activations, where we will include everybody, whether they’re part of the ‘new regime’ after the deal or the regime before. We have no interest in making anybody’s life worse, or cancelling anybody else’s game.

So that’s the past, backwards. Looking, forward – anybody who wants to pitch us a game, who’s a publisher, can come to us and pitch us a game. My team is publisher agnostic. Asmodee gets no points for an Asmodee studio pitching us a game – and on the distribution side, because Asmodee does a lot of distribution as well, if you use Asmodee distribution, you get no extra points. Our job is to make the right number of Middle-earth games at the right pace, so that every game has space to breathe, and there is a Middle-earth game or gaming accessory for every type of game.

That’s the mission, and no part of that mission says, “and Asmodee makes all the games”. So at this show at [Spiel Essen], in fact, the meeting right before this was a game designer pitching us a game which was not an Asmodee pitch. It was a great pitch. That was a designer pitching us. So we told that designer, that was a good idea, we think, but you need to go find a publisher, because we’re going to work with publishers, not individual designers, right? So if you’re a game designer out there: go find a publisher first, and then have the publisher come and pitch to us.

In the case where a good game designer comes to us, we will introduce them to publishers, we will introduce them to our own studios – who may or may not have time or competency for that type of game. Because our studios right now, if they were to add something to their list, they’d have to pull something sort of ‘off the wall’. Our bandwidth isn’t infinite, and they have their own strategies that have been in place a long time.

So a publisher pitches to us, they would show us the games, they’d show us maybe the art style they’re going with – which we can talk about more later – they would show us their ideal release date. The ideal release date will probably never be the date they actually release on. Not because of their schedule, because of our schedule. That thing I said about not having things stack on top of each other, we can’t let everyone say “and I’m releasing at Essen”, or there’ll be four Lord of the Rings games in Essen, right? That’s not fair to any of them. We need every game to have a chance to succeed.

So we will then take our calendar and we’ll start mapping releases on that calendar that we think is the right pace: not too much, nothing’s too close to each other thematically, nothing’s too close to each other visually. You know, we’re never gonna let people run two crowdfunding campaigns at the same time, from two publishers. That would be bad.

So do you anticipate it being, say: one big euro a year, one trick taker, etc?

That’s a great question that I don’t have a good answer for right now. We are in the process of building our calendar, and then we’re going to sit down with [Middle-earth Enterprises], because although we represent Middle-earth as sort of the first group of people to organize what pitches get through, they’re still going to make the final decision, right? But we need a confidence level of like 95% that if something gets past us, and Middle-earth doesn’t say, yes, we’ve failed – or there’s something we didn’t know, like just an old, pre-existing deal that we didn’t know about. That’s our hope.

So the right number of games, we’re still working on, right number of gaming accessories we’re still working on. Some games will be region specific, probably, I don’t know for sure, but someone might come to us with a publisher who says, like, you know, we’re really, really big in Armenia. Great: you can have Armenian rights, this Armenian game, but you have no distribution outside of there. So they would be sort of on their own timeline – they’re not gonna compete with much.

We have some experience recently with the studio internally for releasing a series of Lord of the Rings games. We started with the trick taking game, and then we did the Pandemic game, and then the hobbit game, and those games are very similar to the concept we’re going with now, pacing wise: all those games are different. All those games have been successful, by the way: like, they’ve all had a chance to be successful, which is great. So we’re going to be rational. And one of the reasons Middle-earth picked us for this deal is they trust our experience in the space. My team is not that large, but if I need an opinion about how to do press, I can talk to this guy. If I needed an opinion about some lifestyle game that maybe I’m not an expert in, I can just call someone and go, ‘hey, roleplaying team, help me out here. Is this great? It feels great to me’.

This does give Asmodee a lot of power, obviously. And there is the potential for conflicts, if, for example, a third-party publisher brings a Lord of the Rings trick taking game to you next year, and it’s very, very good.

Well, we wouldn’t say yes to it because we have a successful one – not our successful one – but we have a successful one in the marketplace. If someone brought us a game that was a direct competitor for War of the Ring, and War of the Ring is still doing well, we’d probably say no to that too. I think people are right to… it’s reasonable for them to not trust the things I’m saying. And I hope that in the next couple of months we will prove to the world that we mean what we say, because we’ll be announcing our first group of licensees. And, we have a lot of work on the back end, just ticky tack stuff like getting our contracts ready and making sure all that works, and ironing out some smooth processes that are boring to everybody but required by everybody, that might slow that down [Note: this interview was conducted at the end of October 2025, and those announcements are still yet to be revealed].

But when those announcements come out, I think people are going to be happy to understand that it’s not just that we will work with external people, but we will also work with smaller companies. Middle-earth has a long tradition of working with microscopic licensees – like, they have a licensee that makes honey only from the flowers grown on The Hobbit set. They have a licensee in Minneapolis that makes guitar effects pedals. They make two different effects pedals, and they probably sell a handful – I don’t know what their sales are, I have no idea. And they’re amazing, and they’re handcrafted and built, right? We don’t want to lose that magic. This is a handcrafted brand – a lot of people feel this brand in their bones. I will never not be impressed by the love for this brand. The level of knowledge super fans have is out of this world. It’s just impressive.

It’s good to hear you say that. And obviously there has to be a lot of trust and goodwill on your side if it’s going to work.

We got to build it up! We got to build it up, yeah, we got to – we’ve got to walk the walk.

But the initial reaction from some people within the industry I spoke to was ‘Well, that just means Asmodee are going to call all the shots, we’re not going to get a look in now’. Like, on paper, fine, yeah, there’s a process, but in reality, you’re going to win out if there’s ever any conflict.

It is absolutely fair to have that thought in your head, and it’s our job to prove that thought wrong. And I mean literally nothing I say, I think, could convince anybody other than action. So yeah, it’s got to be the action, we’ve got to follow it up. And look, we’re an industry of tremendous companies. Like, I love Asmodee, it makes amazing games. I spent many, many, years here working on amazing Lord of the Rings games for people. But there’s amazing games in this hall from everybody. Like, they’re amazing.

What does your ideal slate look like then, at the end of 2026?

Oh, games take so many years to make that the first deals we will be announcing, those games won’t come out for two and a half years, like: games take two and a half years to make. So we will be announcing a slate of who we’re signing and maybe what those games are if the publisher chooses to say, you know, in a reasonable number of months, if you didn’t include the holiday months. Because this interview is in October – we’ve got Thanksgiving in the United States, and we’ve got Christmas coming up, and everyone takes vacations in those months, so the back and forth slows down to a crawl. But yeah, I’m hoping to have something fairly soon that we can talk about: but please write off most of November and December, because everyone’s taking all their vacation days that they haven’t taken yet. American companies aren’t like European companies, where you all take a month off in August. We all don’t take any vacation, and at the end of the year, we go, if we don’t take it right now, we’re never getting it [laughs]. And they slam it all into November and December. And I’m talking about myself [laughs].

You’ve touched upon this already, but I get the sense it’s gonna be a real balancing act. To some extent, if you print more Lord of the Rings games, you make more money because they’re very popular, and people want them, and they want different types. But that’s a tough tightrope to walk, in not accidentally making too many, right?

Yes. And I frame this as: Lord of the Rings is the grandfather of all fantasy IPs. We had this term when I used to work decades ago at Wizards of the Coast, called the JOTWA, which was just another Tolkein world, right? And there’s so many. We don’t think, when we look at the games in the hall here and we see medieval fantasy themed games: we’ll never say there’s too many of those, right? There’s a game about a tavern, there’s a game about building a castle, there’s a game about… whatever. In my mind, if all of those medieval games that we don’t see as competing now… they’re all using Middle Earth elements now, they’re all using elves, they’re all using dwarves. They might call their hobbits halflings, but they’re all there.

So I’m not too worried about too many Lord of the Rings games. I’m worried about too many Lord of the Rings games that are too similar. So when you said trick-taking game pitching, that would be such a quick no for me, and it’d be such a quick no because there’s already one of those, and it’s doing well, and that game deserves time to breathe. I come from a game design background and I would be furious if I had a successful game, and then another game got launched that was mechanically close, appeals to the same person. And there are a lot of types of games that don’t exist for Lord of the Rings. Is there a big, heavy, euro Lord of the Rings game somewhere out there? I don’t know of one, right? There’s just space. Is there a kids game? Has anyone taken a funny shot at Lord of the Rings? Like, I don’t know – Hobbit breakfast! I want someone to bring these pitches.

This raises an interesting point, though. So obviously you’re accepting pitches, but when you have ideas such as this, is there license for you to reach out to publishers and say ‘look, we’d actually like this type of Lord of the Rings game made’?

I am so happy you asked that question. So my team is called the active category management team, and the difference is that we are active. When we get to a place – we’re not there yet, because we’re still getting our processes in place – we will actively reach out to partners and say, ‘We need a game like this, and we think you have particular skills in games like that’. Now we might make that reach out, and it’ll take three years before you’ll see a product. And we might take that reach out, and they might just say no. But absolutely: we are actively looking for people for both games and game accessories. Actively is the key word – that’s why we’re here. We’re not waiting. You know, most people that do licensing wouldn’t be at this show accepting pitches. They’d be at home waiting for a phone call from someone who’s interested. My name was on that press release so that people could reach out and contact me and say, I want a meeting. And they did, because turns out, gamers and Lord of rings, that Venn diagram is a bullseye.

And how’s that turned out during this Spiel Essen so far?

We’ve had a lot of pitches – and I can’t talk about the pitches themselves, but there are trends. And it’s so interesting that the trends in games… if you look at games as culture, the culture of today, the stresses of today, are absolutely affecting the styles of game pitches we saw, it’s super interesting. And in a year, I’m gonna write a blog post, and we’ll do another interview, and I’ll explain what I’m talking about. I can’t ruin the confidentiality of the game pitches, but it’s really interesting.

Maybe you can’t talk about this, but I’ll try. So you mentioned heavy euro, which, you know, God yes, that’d be awesome – is there a market for that? I’ve spoken to other publishers in this show who’ve specifically said heavy euros – big, expensive, heavy euros – that the market’s just not really there at the moment. Some will sell, but the market isn’t there. And actually smaller family-plus games, smaller box games, that’s the economic climate we’re in, and that’s really what budgets people have. Is that a concern for you? Or do you just see what turns up?

I think I may be ‘tinted’ by Asmodee’s thought process, which I agree with. I would like to have games at all price points all the time, because at some point the pendulum is going to swing, and we’re never going to guess that right. The odds of us guessing it right are low, and because it takes three years for every euro – probably even longer, right? – I’m not going to say no to that idea, as long as there’s not one in the market. Because in three years, that market may have moved. And look, everyone says low price games sell – until it’s something that people are passionate about. Our recent launch of Fate of the Fellowship, the Pandemic game, sold out almost everywhere – and it’s really expensive. So there’s a market for games. It might not be big, but it’s bigger than honey and guitar pedals [laughs]. Which I love – and I will be buying those guitar pedals.

So what element of this deal just hasn’t been talked about yet?

Oh, great, yes, thank you. Okay, this is a literary license. So if you’re out there and you want to make something that looks like the movie, then we would not be the right people to come people to. But more importantly, that means we are open to alternative art styles, and artists, and we are even okay with people taking little elements of the book – well, Middle-earth is okay with taking little elements of the book – and developing them out further. Like, we don’t want to make five ‘throw the ring in the volcano’ games every year, right?

I would love to see – I’m just going to tell you the kinds of games I’d want to be pitched to me. I would like to have pitched to me games that take small elements of the IP and develop them with focus. A Prancing Pony game. A game about, you know, some spot on the map that if you’re a huge Lord of the Rings fan, you know, but if you’re not, you don’t. Let’s talk about it, let’s get deep into it. Some stuff out of the appendices of the third book – those rights get a little bit weird, but they’re available and we can do really fun stuff. There’s a game that is currently in the works that has done some amazing things with the IP, that real fans will be like, ‘Oh, this is different, this is a thing’. So yeah, I think there’s lots of room for different takes on the IP, and don’t expect visual similarity. I want these studios or these external publishers to be able to create a visual look that… you might walk down an aisle and see six Lord of the Rings games, but you’re going to point at one and go, that’s the one from Kosmos, right? That’s the one from whatever, or that’s my favorite art style, you know? Like, I love the art on Flamecraft. I’d love to see, I don’t know what that looks like for The Lord of the Rings, but that’d be pretty cool!

I think the trick taking game is probably a really good example there, because the art on that is incredible and really makes the game sing. It’s a great game, but I was playing a looking at the cards yesterday and thinking ‘this is fantastic’ – the armour on Gimli the dwarf, for example, where it’s chain mail, but it’s just like swishing circles in that stained glass style?

I love the art on that game. I was working on that game early on when I ran that studio, and we picked that style not just for, like, the style, but we picked it because we knew stained glass was the thing that survives in temples for a long time. And we feel like Lord of the Rings survives like a temple for a long time. So we went deep into it with that one. But it was different: no one confused it with a Fantasy Flight product, right? And that’s the goal, and we want to see that. The original drawings – most people don’t know this – the original drawings of Gandalf, he was like, kind of a pudgy dude. Legolas, you know, he’s, he’s a mix of two types of elves, which means there’s a 50/50 chance he has straight white hair or curly brown hair – it’s just that the movie showed him a straight white hair. Somebody wants to do a Legolas with curly hair, bring it. That’s literally, that’s your interpretation.

I guess we’ve seen this with the Lord of the Rings Magic the Gathering set from a couple of years ago, where there was a hugely diverse set of characters.

Yeah, that art was great, full respect to the Magic artist team.

Asmodee launched its own crowdfunding and miniatures operation last year, and has also brought in an RPG specialist in Mike Mearls. How do those things tie into this new operation?

I haven’t had anything pitched from roleplaying games, and there’s a roleplaying game that exists now from Free League that’s really good. [Crowdfunding and miniatures] pitched us an idea, there’s an idea there. We’ve got a couple of pitches for miniatures and crowdfunding from a couple different places. But, everyone has to earn their spot. And I gotta be fair to that team, that team is pretty new here. Not new in experience level – I mean, it’s David Preti, he’s done tremendous things in crowdfunding – but they’re pretty new in the Asmodee world. And we are a big company, and it usually takes a little while to find your place.

Any publishers interested in pitching a Middle-earth game to Asmodee can do so by emailing METTGlicensing@asmodee.com.

The post “No part of the mission says ‘Asmodee makes all the games'”: Luke Peterschmidt on shaping the future of The Hobbit and Lord of the Rings tabletop titles first appeared on .

Die niederbayerische Timetex Hermedia Verlag GmbH hat den Spieleverlag HCM Kinzel übernommen. Die Marke HCM Kinzel soll unter dem Dach von Timetex weitergeführt werden. Timetex hat seinen Sitz in Riedenburg und zählt eigenen Angaben zufolge zu den führenden Anbietern für Lehrer- und Schulbedarf. Das familiengeführte Unternehmen möchte das Wissen und den Kundenstamm von HCM Kinzel nutzen, um sein internationale B2B-Geschäft weiter auszubauen. HCM Kinzel hatte im Mai 2025 Insolvenz angemeldet und den operativen Geschäftsbetrieb eingestellt. Timetex übernimmt nun Lagerbestände, Kundendaten, Produkte, Marken sowie Domains. Der bisherige Unternehmenssitz im schwäbischen Zaberfeld wird geschlossen. Die bisherigen HCM-Kinzel-Inhaber Markus und Christian Kinzel bleiben

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Der Nürnberger-Spielkarten-Verlag (NSV) präsentiert sich seit Januar 2026 mit einem neuen Logo und eine überarbeitete Sortimentsstruktur. Der Verlag will damit seine Markenidentität schärfen und sich klarer als Anbieter moderner Karten- und Würfelspiele positionieren, auch international. Das Motto „Connect. Challenge. Enjoy! “ soll den globalen Fokus unterstreichen. Das neue Logo bleibt den traditionellen NSV-Farben Rot und Weiß treu, verzichtet jedoch auf klassische Kartensymbole. Stattdessen setzt es auf einen verspielten Schriftzug. Künftig gliedert sich das Sortiment in drei Größen und Kategorien: NSV Travel, NSV Signature und NSV Extra. Travel ersetzt die bisherige Minis-Reihe und umfasst kompakte Reisespiele. Signature steht für Schachtelgröße von

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Der Umsatz mit Spielen und Puzzles ist in Deutschland von Januar bis Mitte September 2025 um 18 Prozent gestiegen. Der gesamte Spielwarenmarkt wuchs um vier Prozent. Das teilten der Deutsche Verband der Spielwarenindustrie (DVSI) und der Verein Spieleverlage mit. Spiele und Puzzles seien damit inzwischen die umsatzstärkste Warengruppe im deutschen Spielwarenmarkt. Besonders stark hätten sich klassische Spiele entwickelt: „Sie legten im Vergleich zum Vorjahr um über 22 Prozent zu. Ein wesentlicher Wachstumstreiber bleibt der anhaltende Hype um Sammelkarten“, schreibt der DVSI. Ravensburger meldete Anfang des Jahres über eine Milliarde verkaufte Lorcana-Karten, auch Magic  - The Gathering und Pokémon erwirtschaften weiter hohe Umsätze. Umsatzwachstum

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Seit dreißig Jahren begeistert Catan Menschen auf der ganzen Welt. Zum Jubiläum haben wir Benjamin Teuber dreißig Fragen gestellt – über Raubkopien, den Film zum Spiel und seinen Vater, den Erfinder von Catan. Catan erschien 1995. Klaus Teuber entwickelte es in seiner Freizeit, hauptberuflich arbeitete er damals als Zahntechniker. Sein Sohn Benjamin stieg 2010 ins Familienunternehmen ein. Er leitet seit dem Tod von Klaus Teuber die Catan GmbH mit seinem Bruder Guido. 1. Welche Frage zu Catan kannst Du nicht mehr hören?Warum der Wechsel von Holz auf Kunststoff? Ursprünglich wurde das Spiel mit Holzfiguren ausgeliefert. Ab 2003 erfolgte die Umstellung

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US-Zölle treffen nicht nur amerikanische Spieleverlage. Auch deutsche Unternehmen müssen umdenken. Selbst wer nicht in die USA exportiert, spürt die Folgen. Wir beantworten die wichtigsten Fragen dazu. Internationale PerspektiveIm Fokus des Artikels stehen die Auswirkungen der US-Zölle auf deutsche Verlage. Wenn Du Dich für eine internationale Perspektive interessiert, findest Du weiterführende Informationen in den Artikeln Board game industry reels as Trump tariffs threaten job losses, company extinctions auf Boardgamewire sowie Tariff Talk from Publishers on Costs, Sales, Conventions, Projections, and More und Tariff Talk from Stonemaier, Cephalofair, Game Trayz Lab, and Steve Jackson Games auf Boardgamegeek. Die Zölle der US-Regierung

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Ob das Kartenspiel Neon Hope erscheint, hängt vom Erfolg einer Crowdfunding-Kampagne ab. Die Macher haben zahlreiche Szenarien kalkuliert. Eins lässt sich jedoch nur schwer berechnen: Donald Trump. Das Spiel Neon Hope ist ein kooperatives Kartenspiel für bis zu vier Personen. Es erzählt eine Geschichte mit Cyberpunk-Thema. Wir versuchen gemeinsam, eine Katastrophe abzuwenden und eine Dystopie zu verhindern. In fünf Episoden beeinflussen wir die Geschichte und steuern auf eines der möglichen Enden zu. Die Spielzeit pro Episode beträgt laut Verlag 90 bis 120 Minuten. Neben dem Kartenspiel soll es auch ein Pen-&-Paper-Rollenspiel geben. Parallel zur Crowdfunding-Kampagne für Neon Hope startet der Verlag Village

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