Three 7s have just landed on the table, worth a potential 21 points - if they survive, that is. Their owner already looks like the victory is in the bag. Yet, they're a bit too sure of themselves. Of course, somebody plays three 6s and wipes their 7s off the table and their smile off their face. Yet, the 6s are also short-lived and replaced by a triple 5. So it continues until someone lands a safe triple 1. Suddenly, everyone's supposedly enormous scores have vanished. Yet, three 1s are only 3 points. That wasn't enough. It was time to Go Big by Antony Proietti from Sinister Fish Games with art by Archie Edwards.

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Waiting for your turn is very common in board games. One person has all the fun while everyone else just watches. Too much waiting is often described as a flaw in game design, particularly when players have nothing useful to do and gradually lose interest in what's happening. Modern board games tend to avoid downtime, yet waiting isn't necessarily wasted time. Sometimes it gives us something to think about, sometimes it leaves us with nothing to do, and sometimes it gives us something that a game cannot provide on its own: a chance to talk.

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The morning rush is already gathering. Passengers wait patiently at the stop, each with somewhere to be, while your little bus rolls into position. You have room for ten, perhaps eleven if you are feeling optimistic, although optimism has consequences when every seat matters. A group of passengers heads for the tennis courts, another bunch has somewhere else to go, and the temptation to wait for one more traveller is almost irresistible. Sometimes patience pays handsomely. Sometimes the bus simply gets fuller. Yet, for you as the driver, it's always the same: Bus & Stop by Saashi from Saashi & Saashi with art by Takako Takarai.

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Art is often something we look at, listen to or watch, while board games are discussed in terms of entertainment, strategy and social interaction. Yet, board games are created through imagination, skill and deliberate choices. Board game designers can shape emotions, represent ideas and create systems that shape how players experience a perspective. Of course, the artwork in a board game is art in the traditional sense, but that is not what I want to explore in this article. Instead, I want to look at how board games themselves, their mechanisms and systems, function as a form of artistic expression in their own right.

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The morning begins with the sound of servants moving furniture. The dining room needs preparing, invitations need sending, and someone has decided that the garden requires attention before our guests arrive. Money is finally coming into the estate again, although there never seems to be quite enough of it. Reputation is returning too, slowly, helped along by carefully chosen gatherings and the right people at the right tables. Somewhere between arranging another lavish afternoon and wondering whether we can afford the room needed to host it, I realise that running a country estate is an Obsession by Dan Hallagan from Kayenta Games with art by Dan Hallagan.

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When I play a board game with my friends, I know that they have the same intention: to win. Yet, they actually all want quite different things. One friend is happiest when they find a strategy that works and keeps working. Another wants to take a game apart until they understand the most efficient route to victory. I want to win too, but as a reviewer, I am usually more interested in understanding what a game is trying to do, how its mechanisms produce an experience and how the people around the table respond. Listening to episode 673 of the 99% Invisible podcast, I found that C. Thi Nguyen, a philosophy lecturer at the University of Utah and author of the book "The Score", has really well described these differing expectations of wanting to win a board game.

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Bus headquarters was busy. We were still trying to figure out the best route to pick up passengers and deliver them to their destinations. The job was made harder because our competitors were vying for the same customers. We were the only two bus operators to serve this town, and we both wanted to be the best. We were also both making up the route as we went along. All I could do was tell my team: Let's Make a Bus Route: The Dice Game by Saashi from Saashi & Saashi with art by Takako Takarai.

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Trick-taking games have been around for centuries, and they continue to inspire new designs. Everyone has their own idea of what makes for a great trick-taking game, but mine was shaped by growing up in Germany playing Skat and, especially, Doppelkopf. Those games use mechanisms that still appear in modern games, yet designers keep finding new ways to create new twists on them. So in this article, I want to look at the trick-taking mechanisms I find most interesting, why they work, and how modern trick-takers have changed them while keeping the characteristics that make the genre so long-lasting.

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The forest seems to close behind you with every step. Pine needles soften your footsteps, branches catch at your clothes, and the trail you followed an hour ago has somehow disappeared. You have been searching for the lake all morning, following fragments of an old story about something that lives beyond the trees. The deeper you go, the quieter the forest becomes. Then the trees thin, revealing dark water between their trunks. Something moves beneath the surface. You stop at the water's edge as a shape slowly rises from the lake, ancient and impossible. You finally discover what you came looking for: Korpi by Antti Kukkonen from Hiirosoft.

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Like a lot of people, the board game hotness excites me because it potentially offers new mechanisms or clever twists on something familiar. Sometimes a new game draws me in because it has my favourite setting. When I finally hold the new game in my hands, the excitement continues when I read the rulebook, set up the game and pull levers or push buttons to see what happens. Yet, as amazing as new games often feel, the ones I return to most often are games that have become familiar friends. Somehow, knowing them so well has not made them any less interesting, but it has changed what I enjoy about them.

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The first pair of hands reached the table before the pattern card had settled. Nine cardboard cats were flipped, swapped and turned over in a frantic blur, followed by an excited slap that brought everything to a sudden halt. One tiny mistake was all it took for groans to turn into laughter before everyone eagerly reset their tiles for another attempt. Every new challenge promised to be straightforward, yet somehow each one encouraged just one more round of rearranging the Meow Tiles by Jean-Claude Pellin from Oink Games with art by Rie Takahashi.

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Imagine playing your very first indoor bowls game, but there is no jack. Everyone simply rolls a bowl towards an imaginary target. Somehow, your experienced opponent seems remarkably confident, while you try to copy what they do and hope for the best. At the end of the first end, someone reveals where the jack had been all along and awards the points accordingly. Then the second end goes in the same fashion, with a target that no one can see. Every end, you know how well you've done, but you never have any hope of getting better. Learning to bowl that way would feel practically impossible because every bowl would be complete guesswork. Surprisingly, some board games seem to want us to learn them in very much the same way.

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Snow muffled every footstep until the only sounds were distant birds and the steady crunch beneath our boots. The silence stretched in every direction: left to right, ahead and behind, as well as all the way up into the thermosphere. We were far away from anywhere. Yet, we knew we were safe. As the darkness settled all around us, we could finally see it: the Borealis: Arctic Expeditions by Dariusz Mindur from Lucky Duck Games with art by Rodrigo Camilo Alves De Almeida, Kevin Sidharta, Inês Toczyska and Ariadna Żytniewska.

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I never enjoyed history at school. I understood why it mattered as a subject, but learning names, dates and events off by rote simply didn’t work for me, no matter how hard I tried. Events were never taught in their chronological or geopolitical context. Things just didn’t make sense to me. So it seems ironic that historical board games are now one of my favourite genres. Of course, they’ve not made me any better at remembering names and dates, but they replaced my fear of history with a new curiosity that I hadn’t felt before. Horrible History To be clear: I never dreaded having history lessons because of my teachers. No, my fear came from somewhere else. Every new era of history introduced yet another collection of rulers, battles, dates and important events that I was expected to memorise. Learning those facts off by heart was just impossible for me. They always simply felt like a random collection of pieces of information that had nothing to hang them onto. So revising for history tests was always not just a terribly frustrating exercise, but often ended up in tears, because I realised that the further I fell behind, the harder things got. I often felt physically sick and had a tight knot in my chest when another exam was approaching. Somehow, history never felt like one very long connected story thread. Instead, it was just a giant jumble of disconnected facts that were supposed to fit together, but never really formed any sort of pattern for me. Of course, history is a hugely important subject. You don’t need to tell that to a German. Every war, political decision and social movement affected real people, families, communities and often, entire generations. Forgetting historic events means forgetting the people who experienced them, something…

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A small hand reaches into the tin, fingers excitedly hovering over the treats inside. The choice should be simple: take a biscuit, any biscuit. But no: two biscuits are better than one, and three better than two. Yet, if the little hand takes too long to make up its mind, the little burglar will be discovered. Well, it's time to Risk It For A Biscuit by Jessica Metheringham from Dissent Games.

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At a time when many people feel democratic culture is under strain, it is worth looking at our own everyday behaviours that allow democracy to function. Elections, laws and political institutions are all important, but democracy also depends on how people treat one another every day. Listening to different opinions, accepting compromise, respecting agreed-upon rules and recognising opponents as people rather than enemies are all part of a healthy democracy. Maybe unsurprisingly, board games are a place to look for those values. I mean, the simple act of sitting down together to play a game, following the same rules and taking on a role, is an opportunity to act out democratic values.

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You put down a bowl of soft food, and moments later, you hear the jingle of her collar. Here she comes! First, she pauses at the conservatory door and watches you for a while. You eagerly point at the wonderfully fresh food, enticing her to come in and eat. She turns away to look out into her domain, our back garden. Eventually, she strolls over - in her own time. Of course, whether she's ready for her lunch, when she eats, or indeed, where she eats, is all her own choice. As her pet dad, you just Take Cat by Gareth Edwards from Gibsons with art by Juliana Eigner.

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Colour is one of the first things I notice when opening a new board game. Bright player pieces, colourful resources and beautiful illustrations immediately grab my attention. Colours tell me where to look and how the game is organised. Yet, like around 1% of men, I have protanomaly, a mild form of red-green colour vision deficiency. I often see pink or purple flowers as blue, and when driving in fog, I see a car's rear red lights much later than other people. So I appreciate it when I can rely on something other than colour to tell me what I am looking at. In this article, I want to explore a century's worth of board game history and look at how colour-vision considerations have changed over time.

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The escape pod rattles violently as it tears through the atmosphere, before the noise suddenly fades away. A rough landing throws you against the restraints, leaving only silence until the hatch finally creaks open and fresh air rushes in with a long hiss. After you take off your helmet, you can smell unfamiliar scents. As you climb out of the pod, you can see a landscape unlike anything you have ever seen before. There are giant mountains that disappear into the clouds, strange plants that sway gently in the breeze, and countless mysteries that are waiting to be uncovered. You notice that you crashed high on a lonely hill, giving you a really good Vantage by Jamey Stegmaier from Stonemaier Games with art by Valentina Filic, Sören Meding and Emilien Rotival.

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Designing a board game that works well for exactly two players is a very different challenge from designing one that supports a range of player counts. Many games include a two-player mode, but board games such as 7 Wonders Duel, Patchwork, and Jaipur show that a dedicated head-to-head experience can be unique and not simply an adapted and reduced version of a game that is really aimed at larger player counts. In this article, I want to look at the design challenge these dedicated two-player-only games present.

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