Almost a year of uncertainty over the future of board game publisher Greater than Games has been partially resolved, with Flat River Group selling the brand name, and the rights for the Sentinels of the Multiverse titles, to Handelabra Games.
Video game developer Handelabra has a long history with the comics-themed cooperative card game, having spent more than a decade creating digital versions of the title and its expansions – as well as for Greater than Games’ best known release, Spirit Island.
Spirit Island is not part of Handelabra’s deal, however, which the company said only covers the Sentinels of the Multiverse games, the Sentinel Tactics range, the Sentinel Comics RPG, Sentinels miniatures and the cooperative deck-builder Galactic Strike Force.
The distribution and e-commerce specialist was bought six years ago by private equity investor Guardian Capital Partners, which provided capital for a string of tabletop industry acquisitions.
They included an expansion into board game publishing in 2021 with the buyout of Greater than Games, which it followed a year later with deals for Canadian publisher Synapses Games and hobby game distributor Luma Imports.
A statement from Handelabra president and CEO Jaye Handel said the company had made the GtG and Sentinels deal to protect its ability to make digital games in that IP, adding that it was “not interested in becoming a tabletop publisher”.
But the statement added, “But lucky for us, we know a lot of good people who are good at exactly that type of business…”
That is believed to refer to Greater than Games trio Christopher Badell, Paul Bender and Adam Rebottaro, who founded the company in 2011 and were the last remaining employees following Flat River’s downsizing of GtG last year.
Handelabra CEO Handel told BoardGameWire he was unable to share further details, but said that his company was “very excited about the future of Sentinel Comics on digital and analog tabletops and beyond”.
He added, “Handelabra Games’ and Flat River Group’s relationship with regards to Spirit Island has not changed.”
The company’s recent statement from Handel indicated it would be able to provide more information about Greater than Games’ future by April 28, which is National Super Hero Day in the US.
It said, “For your ongoing support and excitement, we remain eternally grateful. We just ask for a little more patience over the coming weeks as we have lots to share, and we can’t wait to embark on the next phase of this journey with you!”
Flat River did not respond to BoardGameWire’s request for comment on the future of Spirit Island or other former Greater than Games-published titles.
Asmodee arm Fantasy Flight Games is discontinuing the latest iteration of its veteran dungeon crawler Descent, citing rising manufacturing costs, “global economic shifts” and the expense of developing the game’s companion app.
All three games featured large amounts of plastic miniatures, cardboard terrain pieces and map tiles, while Legends of the Dark also leaned into an integrated companion app to help manage campaigns and individual scenarios.
A statement from FFG announcing the end of the game said, “Simply put, the game is too expensive to make. Between ever-increasing manufacturing costs, lengthy and pricey app development timelines, and global economic shifts making everything more expensive to produce, it became abundantly clear that continuing to make this game is just not feasible.
“This is far from the outcome we wanted – again, we all love this game and hoped to see it grow for years to come – but even if we were to sell every last copy, we would still ultimately be doing so at a loss.
“In a fiercely-competitive board game industry, that simply isn’t sustainable, and because of circumstances outside of FFG’s control, there are no adjustments we could make that could lower costs enough to continue printing the game.”
Standees from Frosthaven || Photo credit: Cephalofair Games
Other competitors in the space have included CMON’s Massive Darkness series – based on its huge-selling Zombicide system – which has raised more than $10m acrossa trio ofcrowdfunds since 2017.
Using crowdfunding for those large-scale, component-heavy games has helped publishers Cephalofair and CMON reduce the risk of developing expensive titles by being able to accurately gauge demand, as well as receiving financial backing for the projects up front.
Even with that data, however, both publishers have run into problems amid the heavy global economic uncertainty over the last couple of years – especially around volatile US tariff policy aimed at countries such as China, where the vast majority of board games are manufactured.
Asmodee has almost entirely avoided crowdfunding for its own games to date, with its only launched campaign believed to be Lookout Games’ Kickstarter for the Grand Austria Hotel: Let’s Waltz! Expansion & Deluxe Upgrade, which raised about €383,000 during the coronavirus pandemic in 2020.
Its only other prior exposure to crowdfunding is thought to be via the company Exploding Kittens, in which it made a strategic investment short of a buyout in 2021. That business has since raised more than $977,000 in a Kickstarter campaign for Hand to Hand Wombat the following year.
Its statement about the end of Descent: Legends of the Dark said, “While we don’t have anything to share at this time, there is always a possibility that we will revisit Descent in the future.
“It would take a different form and would not be Legends of the Dark, but this game universe is near and dear to FFG’s heart.
“The future is always uncertain, and even though we have to close the book on Descent today, we hope that, someday, we’ll be able to dream big with it again.”
FFG’s other major titles currently include collectible card game Star Wars Unlimited, ‘living card games’ Marvel Champions and Arkham Horror: The Card Game, heavyweight space opera board game Twilight Imperium and veteran bluffing and negotiation game Cosmic Encounter.
The company said that although Act III of Descent: Legends of the Dark is no longer in development, the company would continue to support the game’s companion app for the first two acts of the game, albeit without any new content being added.
In February Artefacts Studio unveiled Terrinoth: Heroes of Descent, a video game set in the Descent universe which FFG said “captures the classic dungeon-crawl feeling of the Descent board games in a whole new medium”.
Financially-troubled board game publisher CMON says it plans to relaunch its halted crowdfunding operations later this year, after seeing its annual losses soar to almost $20m in 2025.
But a month later it emerged that CMON’s financial problems had been growing long before the tariffs, with the company announcing it had slumped to a loss of more than $3m in 2024 due to falling sales for its crowdfunding campaigns.
CMON’s $23m losses across 2024 and 2025 are now almost 5.5-times larger than its profits from the preceding nine years combined – and have led an independent auditor hired by the company to question whether it has the resources to stay in business for the foreseeable future.
An extract of a report from auditor Zhonghui Anda shared by CMON, which is set to appear in the company’s 2025 annual report next month, considered the publisher’s $19.9m annual loss, its net liabilities of more than $3.5m and contract liabilities of over $7.5m, saying, “These conditions indicate a material uncertainty which may cast significant doubt about the Group’s ability to continue as a going concern.”
CMON’s directors have a different view, however, saying in the 2025 financial report that the company “should be able to continue as a going concern” thanks to a trio of factors.
They include financial support from some of the directors “sufficient to finance CMON’s working capital requirements”, the roughly $2.4m proceeds from selling its Singapore office that it received in January, and the roughly $1.25m gross proceeds from a successful share sale last month.
CMON’s hefty liabilities are largely due to its eight undelivered crowdfunding campaigns, which are not recognised as revenue on the company’s books until they are fulfilled to backers.
The company said that delivering crowdfunding projects in 2024 contributed about $20m in revenue – a figure which had sunk to just $200,000 last year according to its latest financial report.
CMON said the 2025 losses were driven by a “significant decline in revenue”, which fell more than 73% to $9.9m last year, compared to the $37.3m total from 2024.
DCeased from CMON || Kickstarter image
It also cited impairment losses on property, plant and equipment, right of-use assets and intangible assets, and a loss it made disposing intellectual properties and related assets as part of its “strategic portfolio restructuring”.
Those IP sales included parting with its most famous and profitable title Zombicide – which has raised more than $40m on Kickstarter since its 2012 launch – to Asmodee, as well as Blood Rage, Rising Sun and Ankh to Tycoon Games.
CMON said all those sales combined amounted to about $5.1m, but added that it actually made an overall $2.4m loss on disposal of intellectual properties and related assets across 2025.
It also made a $5.7m loss due to undertaking an impairment assessment on some of its property, plant and equipment, right-of-use assets and intangible assets “with finite useful lives”.
CMON said in the financial report, “These actions, while negatively impacting short-term results, were undertaken to strengthen the Group’s operational focus and reduce future cost burden.”
The company’s remaining significant IP includes the Massive Darkness series, with the most recent installment, Massive Darkness: Dungeons of Shadowreach, completing a $2.85m crowdfund on Gamefound early last year – a figure which rose to more than $3.7m including late pledges.
That campaign was CMON’s last before it scrapped its future crowdfunding plans two months later. The company has pivoted in the interim to releasing several small-box games direct to retail, including Collect!, Peanuts Talent Show, Fairy Perfume, Rocket Punch and Yokai Carnival.
Collect! from CMON, designed by Jérémy Ducret and Johannes Goupy
Discussing its current strategy in the report, the company said, “In light of the continued uncertainty in the global market, particularly the instability arising from US import tariffs on certain products since the first half of 2025, the Group has taken decisive steps to restructure its operations and strengthen its financial position.
“Our current strategy is to:
1) reduce exposure to large-scale crowd-funding launches in the near term, focusing on fulfilment of games already committed to backers, with plans to resume crowdfunding activities in the second half of 2026 with new titles from current game lines;
2) grow distribution in Asia as a primary strategic market;
3) maintain a streamlined operational structure with reduced headcount and a smaller office footprint in line with the Group’s current scale of operations; and
4) maintain a debt-free position following the full repayment of bank borrowings, significantly reducing the Group’s financial liabilities and improving its financial resilience.
“We remain committed to becoming a quality developer and publisher of tabletop games and believe the strategic refocus toward Asia and selective game development will position the Group more sustainably for the future.”
CMON said it had reduced its revenue exposure to the US to about 21.4% of its total across 2025, compared to around 42% for the previous year, through what it described as a “deliberate strategic pivot toward Asia”.
The report showed CMON’s combined North and South America revenue fell more than 86% last year to about $2.1m, from around $15.7m in 2024.
European revenue also fell more than 81% year-on-year, from about $12.7m to around $2.4m. Asia revenue fell too, but much less sharply, down about 33% in 2025 from $8m to around $5.3m.
CMON said in the report, “Notwithstanding this reduced exposure, tariff-related uncertainties may continue to affect future export sales, revenue and gross margin performance in the US market.
“The Group intends to maintain its current reduced focus on the US market until the trade environment stabilises and market conditions improve.”
CMON also revealed the scale of its staffing cuts in the latest report, with headcount falling from 81 at the start of 2025 to just 41 at the beginning of this year.
The report said total staff costs had fallen in that time from about $4m to around $2.8m, including pay for its directors and their pension fund contributions, but it did not provide a breakdown of those numbers.
Stonemaier Games’ diversification of its flagship bestseller Wingspan into a trilogy of standalone titles powered the company to record revenues of more than $25m last year – eclipsing its previous annual high from the post-Covid board game boom in 2021.
While the bulk of that lifetime figure is from 2019 release Wingspan and ‘standalone expansion’ Wingspan Asia, at about 2.6 million copies, the addition of Connie Vogelmann’s Wyrmspan in 2024 and the David Gordon and Michael O’Connell design Finspan last year have created a hefty boost for Stonemaier’s overall sales.
The latter pair now have more than 685,000 copies in circulation – a figure which already outstrips the roughly 600,000 copies of Scythe, Stonemaier’s biggest seller outside of the ‘span’ trilogy, despite that game being in print for a decade.
Speaking to BoardGameWire about the latest annual results, company co-founder Jamey Stegmaier reiterated his regular refrain that “number go up” was “simply not on our list of goals at all”, adding, “I understand that the annual revenue is an interesting number to poke at, but honestly that number could go up or down by many millions of dollars and I wouldn’t care as long as we’re bring joy to people.”
He said at the time that he had no concerns about the fall in revenue, saying, “Based on our reach and evergreen sales, I think a ‘normal’ annual revenue for us is somewhere between $15m to $20m, with the exact amount depending on when certain products ship.
“In that way, I think 2021 was an outlier (probably pandemic related) – not only was it a very strong year for Wingspan, but we also saw excellent evergreen sales for Viticulture and Scythe, and we had one of our biggest releases that year in Red Rising.”
But strong sales this year of the ‘span’ trio among a busy slate of other Stonemaier releases has pushed company revenue beyond those 2021 heights, with Stegmaier telling BoardGameWire yesterday, “After hearing from customers for a long time that they wanted the Wingspan model applied to other creatures, I’m really glad we’ve been able to serve them via Wyrmspan and Finspan.
“It also takes pressure off of Wingspan designer Elizabeth Hargrave. Also… it gives us some wiggle room to take on riskier projects, though any game is a risk – we never really know how a game will do.”
One game which could arguably be put in that category is Stonemaier’s 2025 release Vantage – a non-campaign, open-world-style exploration game designed by Stegmaier which was in development for seven years.
Stonemaier printed 64,000 copies of Vantage last year, with Stegmaier telling BoardGameWire: “There’s no other tabletop game that does what Vantage does, so I see it hitting tabletops for years to come.”
He said, “We’re currently initiating Vantage’s fourth reprint, which is remarkable for an expensive game just eight months into its lifecycle.
“I’m so glad this labor of love from the last eight years of my life is resonating with people who want to go on an open-world, first-person adventure without the need to commit to a campaign game.
“Also, unlike all other new releases, Vantage had so much text that it didn’t have any localization partners in 2025 – they needed a lot more time, so 10,000 units of non-English versions are coming in 2026.”
Vantage, published by Stonemaier Games
He also highlighted the success of superhero-themed, tableau-building trick-taker Origin Story, which printed 33,500 copies, and added that more quick-playing, smaller-box titles are on the way from the publisher – including a more lightweight Wingspan title which the company says is playable in about 30 minutes.
Stegmaier said, “I love Origin Story, and I’m excited that we’ve packed so much game into a smaller box that you can teach and play in 45 minutes.
“I would say that’s the realm of the smaller Wingspan game we’re releasing in mid-2026, and I’m wrapping up something kind of in the same realm (in terms of size and length) for 2027.”
Going smaller still, Stonemaier’s 18-card co-operative micro-game Smitten and its sequel also performed well last year, Stegmaier said, with the number of copies printed up 23,000 compared to 2024.
He said, “These are both very small, very humble games that serve well as add-ons, stocking stuffers, and suitcase inclusions for travel. I’m honestly kind of surprised they’ve sold so well, given how different they are from our core offerings.
“That said, they offer more of a trickle of sales through any sales partner – a dozen here each month to distributors, a dozen there to retailers, a few dozen on our webstores.”
Stegmaier added, “The one product for which we probably over-forecasted was Wyrmspan: Dragon Academy. It has sold very well (over 60,000 units for an expansion is remarkable), but I think we probably could have made 75,000 units and later reprinted 25,000 instead of printing 100,000 up front.
“Stamp Swap has done fine [BGW note: 34,000 copies printed in its 2024 release year, but none in 2025], but I think it’s indicative that it’s more difficult than ever for a good game to break through.”
Cards from 2025 Stonemaier release Wyrmspan: Dragon Academy
Stegmaier has been at the vocal forefront of the board game industry’s fight against volatile US tariff policy since President Trump’s inauguration last January, which has seen several board game businessesshutter their operations, lay off staff and hike the prices of their games to cover the unexpected costs.
He said in a blog post at the time, “Every day for the last ten months, I’ve lived in fear that the executive branch of my own country would raise our import taxes to an extreme level that would significantly damage Stonemaier Games and the thousands of small businesses seeking to serve their US customers, retailers, and employees.
“So when the Supreme Court ruled on Friday that the tariff taxes and the way they were implemented were unconstitutional, I had a huge sense of relief. Relief that small businesses can no longer be used as pawns in a global game. Relief that the whim of one person can no longer effectively change the landed cost of our product from $10 to $25.
“Yes, there are still legal ways for the executive branch to impose tariff taxes. They seem really passionate about making small businesses in the US pay more taxes. But these methods have limits: For example, the new tariff tax is 15% (that’s the max it can be), and it needs congressional approval to extend beyond 150 days.
“In the immediate future, I don’t think we’ll see much of an impact on prices, as anything in stock in the US already had its tariff tax paid when it entered the country (if it was manufactured elsewhere). My perception is that many businesses avoided raising prices and instead just ate the extra costs (that’s what we did; we did not increase any prices).
“There is also the possibility of tariff tax refunds. To date, Stonemaier Games has paid just under $300,000 in tariff taxes to the US government. I’m not counting on getting any of that back – it will be nice if we do, and I hope that other businesses do, but the level of uncertainty isn’t something for which we can plan.
“My hope, as always, is that what happens next will help me best serve my coworkers, our independent contractors and partners, and our customers in the US and around the world (consumers, retailers, and distributors). I wish the same for all other small businesses.”
Stegmaier told BoardGameWire that he was “really excited” about the company’s 2026 line-up, which kicked off with the Wingspan Americas and Viticulture: Bordeaux expansions, and also includes a two-player Scythe vs Expeditions duelling game which expands both those titles as well as working as a standalone design.
He said, “I’m excited for the opportunity to serve fans through expansions for Wingspan, Viticulture, Finspan, Scythe, and Expeditions, along with the new Euphoria board.
“The main challenge is communicating what makes these products unique and special. For the first time in a while (since Apiary, as I recall), we’ll have a new game in our original sweet spot of mid-weight euro games – that’s the Smoking Bones game in Q4.”
Stonemaier Lifetime and 2025 Sales
Wingspan & Wingspan Asia: 2,639,429 lifetime units, up 229,686 compared to 2024
Wyrmspan: 451,994 units +148,598
Finspan: 233,584 units (new release)
Vantage: 64,000 units (new release)
Scythe: 601,102 units +41,500
Origin Story: 33,500 units (new release)
Tokaido: 29,500 units (new release)
Tokaido Duo: 27,834 units (new release)
Smitten & Smitten 2: 38,000 units +23,000
Apiary: 55,004 units +8,500
Viticulture: 273,584 units +6,750
Rolling Realms & Rolling Realms Redux: 62,000 units +6,000
Tapestry: 91,650 units +4,000
Between Two Castles: (58,000 units) received an Essential Edition in 2025 – 8,000 copies made, about 5,000 sold
Games which did not receive new printings in 2025:
The overall blog statistics are pretty meaningless – both last year and this year are skewed by WordPress sending my Farewell 2024 – Historical Fiction! post out to a bajillion people (from Dec 26 to Jan 8), which makes it easily the most popular post of each year (providing more than a fourth of my total views this year). If you factor that out, 2025 has been a good year on the blog, but slightly behind the (organic) record of 2023.
The posts doing particularly well have been the usual suspects, that is, the Most Anticipated Historical Board Games post in January, and the evergreen strategy posts for several games published over the last year. It was nice to see that a few of my research-intensive posts in the American Revolution and the Wallenstein series also did well.
Most of my readers come from the United States (also skewed by the Historical Fiction anomaly, but not entirely), as well as other Anglophone (UK, Canada, Australia) or European (Germany, the Netherlands, Spain, and France) countries. Especially the Dutch have made a leap up… maybe because of my post on the history of Amsterdam? Welkom, anyway.
New arrivals in the top 10 of the countries from which most views stem are Sweden and Poland in a joint Baltic effort.
If you compare views with population numbers, there are possibly no more loyal readers of this blog than the fine people of Ireland, closely followed by Hong Kong, whose views eclipse those of huge countries like Japan, Brazil, or India. The Irish have been devoted to history, board games, and history in board games for some years now, for which I am grateful. The Hongkongers are new in their excitement for the blog – welcome! If you are from Hong Kong, leave a comment below!
I can only speculate what brought people to this blog (but maybe you can enlighten me with a comment, especially if read this blog, but don’t comment often or ever). Here is, however, what I think was the finest which I published this year – as per usual, with six instead of three entries, and without crowning a winner. Let’s go!
Most of the history articles on this blog are about what people in the past did – the politicians, merchants, soldiers of times past. Yet I also like to dwell on what they thought, and thus I’m very happy to have written this post on the political philosophy of the American Revolution, its core value of liberty, and the promise and limitation of that idea. It was also an opportunity to engage with the still-compelling documents of the Revolution – Common Sense and the Declaration of Independence.
It’s been a wild year politically. Almost forgotten by now is the Great Tariff Rollercoaster of April 2025, in which the American federal government announced tariffs on imports from almost all other countries and then engaged in a flurry of raising, lowering, and holding off on them that made everyone’s head spin. By now, the 145% tariff on Chinese goods imported by US buyers is long gone, but at the time it seemed like an existential threat to US board game companies manufacturing their games in China (so, almost all of them), and given that the current US administration will still be in office for another three years, one worth revisiting.
This blog often gives me the opportunity to learn about new subjects. Wallenstein was one of them. I approached the post about his life with not more than a general knowledge about his role in the Thirty Years’ War… and then was sucked into a research rabbit hole in which I read over 2,000 pages about the guy. The result is a four-part series and the longest, most detailed board game assisted biography I have ever written about anyone.
…and this blog also allows me to re-visit topics and games with which I have engaged for years (and sometimes decades) now. Frederick II of Prussia is such a person, and Friedrich (Richard Sivél, Histogame) such a game. Reflecting on their insights on Frederick’s campaigns, the command and control exercised, and Frederick’s psychology was a delight.
Amsterdam is one of the iconic cities of the world. It is a symbol of art, commerce, and progress, and unique in its canal-structured urban layout. Unsurprisingly, these characteristics have also inspired board game designers. I have told Amsterdam’s 750-year history through the lens of the many board games set in Amsterdam – which gives a glimpse into what the city stands for in the popular imagination. As both this and my earlier Venice post were so much fun to write, I should do more city histories!
One of my brighter new ideas was to link historical board games to period music. Of course, that works particularly well from the 20th century on – the age of the music record. I started with an immersive playlist for your next game of Weimar (Matthias Cramer, Capstone Games/Skellig Games/Spielworxx), full of everything that was hot at the time – from traditional songs to jazz, from movie tunes to workers’ songs. It will surely not remain the only such playlist.
And thus concludes the year 2025 on this blog. I hope you had as much fun reading it as I had writing.
I wish you all an excellent year 2026, full of joy, health, and success!
The overall blog statistics are pretty meaningless – both last year and this year are skewed by WordPress sending my Farewell 2024 – Historical Fiction! post out to a bajillion people (from Dec 26 to Jan 8), which makes it easily the most popular post of each year (providing more than a fourth of my total views this year). If you factor that out, 2025 has been a good year on the blog, but slightly behind the (organic) record of 2023.
The posts doing particularly well have been the usual suspects, that is, the Most Anticipated Historical Board Games post in January, and the evergreen strategy posts for several games published over the last year. It was nice to see that a few of my research-intensive posts in the American Revolution and the Wallenstein series also did well.
Most of my readers come from the United States (also skewed by the Historical Fiction anomaly, but not entirely), as well as other Anglophone (UK, Canada, Australia) or European (Germany, the Netherlands, Spain, and France) countries. Especially the Dutch have made a leap up… maybe because of my post on the history of Amsterdam? Welkom, anyway.
New arrivals in the top 10 of the countries from which most views stem are Sweden and Poland in a joint Baltic effort.
If you compare views with population numbers, there are possibly no more loyal readers of this blog than the fine people of Ireland, closely followed by Hong Kong, whose views eclipse those of huge countries like Japan, Brazil, or India. The Irish have been devoted to history, board games, and history in board games for some years now, for which I am grateful. The Hongkongers are new in their excitement for the blog – welcome! If you are from Hong Kong, leave a comment below!
I can only speculate what brought people to this blog (but maybe you can enlighten me with a comment, especially if read this blog, but don’t comment often or ever). Here is, however, what I think was the finest which I published this year – as per usual, with six instead of three entries, and without crowning a winner. Let’s go!
Most of the history articles on this blog are about what people in the past did – the politicians, merchants, soldiers of times past. Yet I also like to dwell on what they thought, and thus I’m very happy to have written this post on the political philosophy of the American Revolution, its core value of liberty, and the promise and limitation of that idea. It was also an opportunity to engage with the still-compelling documents of the Revolution – Common Sense and the Declaration of Independence.
It’s been a wild year politically. Almost forgotten by now is the Great Tariff Rollercoaster of April 2025, in which the American federal government announced tariffs on imports from almost all other countries and then engaged in a flurry of raising, lowering, and holding off on them that made everyone’s head spin. By now, the 145% tariff on Chinese goods imported by US buyers is long gone, but at the time it seemed like an existential threat to US board game companies manufacturing their games in China (so, almost all of them), and given that the current US administration will still be in office for another three years, one worth revisiting.
This blog often gives me the opportunity to learn about new subjects. Wallenstein was one of them. I approached the post about his life with not more than a general knowledge about his role in the Thirty Years’ War… and then was sucked into a research rabbit hole in which I read over 2,000 pages about the guy. The result is a four-part series and the longest, most detailed board game assisted biography I have ever written about anyone.
…and this blog also allows me to re-visit topics and games with which I have engaged for years (and sometimes decades) now. Frederick II of Prussia is such a person, and Friedrich (Richard Sivél, Histogame) such a game. Reflecting on their insights on Frederick’s campaigns, the command and control exercised, and Frederick’s psychology was a delight.
Amsterdam is one of the iconic cities of the world. It is a symbol of art, commerce, and progress, and unique in its canal-structured urban layout. Unsurprisingly, these characteristics have also inspired board game designers. I have told Amsterdam’s 750-year history through the lens of the many board games set in Amsterdam – which gives a glimpse into what the city stands for in the popular imagination. As both this and my earlier Venice post were so much fun to write, I should do more city histories!
One of my brighter new ideas was to link historical board games to period music. Of course, that works particularly well from the 20th century on – the age of the music record. I started with an immersive playlist for your next game of Weimar (Matthias Cramer, Capstone Games/Skellig Games/Spielworxx), full of everything that was hot at the time – from traditional songs to jazz, from movie tunes to workers’ songs. It will surely not remain the only such playlist.
And thus concludes the year 2025 on this blog. I hope you had as much fun reading it as I had writing.
I wish you all an excellent year 2026, full of joy, health, and success!
Anmelden
