Games like Tulikko are challenging to review because they are generic. Games like this embody much of what a particular genre of game attempts to do; and it’s very similar to a lot of other games of that genre. It’s another personal board tile placement puzzle. I don’t know if that’s bad or good anymore.

Tiles, but make them slide

Tulikko is a game of acquiring tiles and placing them on a grid on your player board. The tiles come in four colors, and you’re trying to place them on your player grid in specific configurations that are governed by the randomly determined objectives for each game. There are three cards that change each game. One type has you trying to make specific patterns of colors on your board, another has you making specific shapes, and a third has you making patterns using special wooden river pieces—I’ll cover those in a moment. The other scoring options are part of each game and reward you for covering one of four symbol types on your player board and/or placing enough tiles (3, 4 if you’re slow) of one of the four colors.

How do you get the tiles? Well, you put a tile that you draw from your personal pile of…

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Rarely, I come across a game whose aesthetics overpower my critical sense. Fabled: The Spirit Lands is one of those games. It also makes moving up tracks not look and feel like moving up tracks, which is high praise from a curmudgeon like myself.

Bookington Bear

The object of Fabled: The Spirit Lands is to collect the most red books by the time the game ends. There are several scenarios that alter this formula, but ultimately, it’s a Knizian affair, where if there’s a tie for the red books, you go to the green books, then the blue books, and finally the crummy yellow books.

You can think of the books as cubes of four colors, and what you’re doing throughout most of the game is turning the books from one color to another color. It’s resource conversion at its most basic–two yellow books become a blue, two blues become a green, and two greens become a red.

The game operates with a simple formula, but it has some interesting quirks. Let’s talk tracks.

Take a hike

The game doesn’t call the map cards tracks, but tracks are what you have to work with as a player, so I’m going with it. At the beginning of the game, each…

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SHASN: AZADI is a box full of gimmicks. Those gimmicks are equal parts corny and high-minded, clever and ham-fisted. The area majority mechanism that is used to tally points is, frankly, pedestrian and simplistic. But, in spite of it all, the game is ambitious, and I admire games that are high-minded, even when that highmindedness has flaws.

Hegemony this ain’t

And that’s a good thing. AZADI is trying for something explicitly political—it is about the construction of political blocs more than it is about forcing players to accept the roles and bounds of its simulation. From where I sit, Hegemony: Lead Your Class to Victory’s conception of political economy and class is at best misguided and ignorant. AZADI doesn’t presume to gamify and fragment class struggle, casting players as some fake-o thinktank concept of the “middle class” and the “state.” Instead, players are a political ideologue constructing their own ideology out of what will best get them into the big chair. More on this in a moment.

The way you win AZADI is by forming majorities. In the version that I’m reviewing, you have a modular dual-layered map with holes in it for player pieces. Each map tile has a crosshair hole  (volatile area) and a number reading something like 11/21. Players get points for having majorities, which…

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The Last Spell: The Board Game is one of those rare games that I can be unapologetically negative about. Contrary to what you might think reading some of my reviews, while I can be critical, I generally try to understand what the design was attempting to accomplish and if it accomplished that goal.

The Last Spell: The Board Game successfully accomplishes the aim of adapting a video game into a board game at what appears to be a 1:1 level of fidelity. Unfortunately, because of this, there is almost zero reason to play the board game adaptation.

This game is a waste of time.

Is there a good thing, Thomas?

Well, the aesthetics are kinda cool. I guess?

The premise of the game is that some wizards cast a big spell that killed nearly everything in the world, and the remnants group together in small towns bravely defending themselves against the dying of the light or some such thing. There’s purple mist. There’s a pixel art style that is very Dark Super Nintendo. Reminds me a bit of Super Boss Monster, and the text is reasonably easy to read. The miniatures for the player heroes are cool.

Unfortunately, beyond that, everything else is a travesty.

The game is a…

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Fortunes of Scoundrel Bay has, on the surface, everything that makes me typically dismiss the latest eurogame from the assembly line: It’s clearly inspired by Alexander Pfister’s Maracaibo and Boonlake, it has questionably silly cover art, and maybe one of the most generic and forgettable “this is a pirate game” names of all time (honestly, we accidentally called it “Scoundrels of Fortune Bay, Bay of Scoundrels, Founders of Fortune Bay, etc.)

I was surprised to just have a great time with Fortunes of Scoundrel Bay (FoSB). It’s always a treat to be delighted by the mechanical flourishes in a design, and this one has plenty of thoughtful choices that come together in a surprisingly mid-weight package.

We’re pirates, yar, but we’re also homebodies

Fortunes of Scoundrel Bay has an interesting rhythm compared to many games that feature seafaring as a central theme. Instead of sail, sail, sail, you are often sailing 1 or 2 spaces, then you’re doing a bunch of different activities for several rounds, then you might sail another space. The arrangement of the board is the shape of a bay, rather than a large expanse of ocean, and this is reflected in how the game plays. You’re more of a pirate party barge than a terrifying group of cutthroats. These pirates love to hang.

…

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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…

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