One amazing thing games let us do is explore worlds of imagination. Space ships traveling to distant stars are just as possible as dragons or old gods walking the Earth. I can’t think of any game that stretches the borders of imagination as far as Tsukuyumi.
On the surface, the world of Tsukuyumi used to be just like ours. Like Earth, that is. One difference, though – or at least I hope it’s a difference. Thousands of years ago, the white dragon god Tsukuyumi was trapped in the center of the moon by his brothers and sisters. There he lay, plotting, planning, until one day he broke free of his lunar prison by crashing into the Earth. The devastation was absolute. Continents shattered. Mountains crumbled. Oceans fell try. Animals, plants, and especially humanity paid a heavy toll. And amidst all this destruction Tsukuyumi and his army of Oni warriors stand to recapture what was once theirs.
After three games around the North Sea – Explorers, Raiders, and Shipwrights of the North Sea – designer Shem Phillips wanted a change of direction. Literally. So him and co-designer S J Macdonald went to the West Kingdom. The first game in this new trilogy is Architects of the West Kingdom, the sequel Paladins of the West Kingdom was just funded on Kickstarter, we don’t know the title of the third game yet.
The West Kingdom is the 9th century Carolingian Empire, and in the first game the players are architects – don’t act surprised now – construct landmarks and cathedrals for the king.
You’ve probably seen photos of the crazy highways of Tokyo, with loops of the Shuto Expressway criss-crossing with on-ramps, off-ramps, sideways-ramps and itself in multiple levels. (Not going through any buildings, though. The Gate Tower Building is in Osaka.) The Expressway turned out that way, at least in parts, because of the 1964 Olympic Games. The first bit of Shuto Expressway was opened in 1962, and for the Olympic Games Tokyo wanted to present an efficient, modern transport system. Building this way was the cheap and quick way to have the Expressway connect much of the city.
It’s obvious that there’s a game hidden in that story. Many designers could have done it, had they thought of it. Resource management, worker placement, a tight time limit, contract cards to connect certain neighborhoods… . But many designers didn’t think of it. Naotaka Shimamoto and Yoshiaki Tomioka did, and they made a very different game called Tokyo Highway.
It is the eighteenth century and the skies darken over England. That’s not a metaphor for anything, nor is it talking about the typical English weather. The Industrial Revolution has begun and coal smoke blackens the air and lungs of England.
The original Brass turned ten years old last year, but the game by Martin Wallace still holds a proud overall rank 24 on BoardGameGeek at the time of writing. Not bad in a time where new games are so numerous that many won’t even be remembered ten years from now.
Two new editions by Roxley are a great opportunity for us to review this modern classic. Technically it’s Brass: Lancashire that is a new edition of the original Brass, Brass: Birmingham is more like a spin-off. However, the two games are so similar in rules and theme that we decided to put them in one review and highlight the differences.
For many years a civilization of forest critters has prospered in the shadow of the mighty Ever Tree. Between grass, moss and rivers the bird, rodent, reptilian and amphibian people of Everdell have built a home. A home they are slowly outgrowing. And so some enterprising ones of them have set out in small groups to found new cities for their children to grow up in.
It will not come as a surprise that each player leads one of those expeditions away from the Ever Tree. Into the wild, the unknown… the adventure. How much of a city can you build in only one year?
Gigawatts of power roar to life right behind you seat. There is no space for luxury in your spacecraft. This thing wasn’t built for comfort, it was built to win the fastest and longest race in human history. Longest in distance covered, that is. The time of a Powerships race is about half an hour. The distance covered is the whole solar system. Sometimes twice. Where we’re going we don’t need the laws of physics.
Powerships is a racing game by Corné van Moorsel and a remake of his own Powerboats. There are no bells or whistles to it. You set out the course and up to seven players put their interplanetary pedal to the metal. First to the finish line wins.
I thought I’d seen every possible way to use cards. Keep them in your hand. Put them on the table. Facing you. Facing everyone else at the table. Turning them every which way to change what they do. And then along comes Luxor, a Spiel des Jahres nominee by Rüdiger Dorn, with a way to use cards that is all new, and yet super simple.
There isn’t much of a story to Luxor. Each player controls a group of adventurers as they make their way through the legendary temple of Luxor to the pharaoh’s burial chamber. It’s not so much what you’re doing or why that makes Luxor interesting. It’s the how.
The Quedlinburg Quacks are not the east German town’s hockey team. Neither are the Quacks of Quedlinburg a family of celebrity ducks living in the area. I would love if they were, though. No, The Quacks of Quedlinburg (original title: Die Quacksalber von Quedlinburg, no official English title yet) is one of Wolfgang Warsch’s games on this year’s Spiel des Jahres shortlists. We already reviewed the others (Ganz Schön Clever and The Mind), so today we’ll talk about quacks and snake oil salesmen.
The players in Die Quacksalber von Quedlinburg are charlatans selling their potions and tinctures at the annual fair in Quedlinburg. At least, they will sell them if they manage to make them without blowing up their kettle. Spoiler: they won’t. Not reliably. The possibility of your kettle exploding is the fun. And the best part: when it does explode you have no one to blame but yourself.
This is probably our shortest review ever. At least I can’t think of a game that would have an even shorter one. The Mind is one of Wolfgang Warsch’s games nominated in the Spiel des Jahres awards this year (the others being Die Quacksalber von Quedlinburg and Ganz Schön Clever, both nominated for Kennerspiel). I hope you’ll enjoy our very brief video review!