It’s 1997, I’m at Dragon Con in the gaming area at a random table I sat down at, and I’m dealt a hand of cards with German words on them and cartoon pictures of these bean characters. Beans. I start rifling through the cards and the guy teaching the game stops me. “No no no! You have to keep the cards in the order you get them, don’t change the order of them in your hand!” Right off the bat, this game is making a bad impression with the silly bean-people and this bizarre rule that defies the natural instincts of anyone who has ever played a card game of any type. My shirtless, leather bracers-wearing friend that fancies himself a modern barbarian leans over and says “Mike, I don’t know about this one.” I promise him that we’ll play Dungeonquest afterwards. I don’t want him to leave me alone at a table of strangers playing a game about bean farming. An hour or so later, we’re in the dealer’s room forking over the bucks for a copy of the game from a vendor that had some import copies. Continue Reading…
British people of a certain age tend to regard children’s animators Peter Firmin and Oliver Postgate as minor deities, so totally did their wonderful conjurations dominate the world of kids TV in the 70′s. Dizzying edifices of imagination and storytelling, built on Firmin’s instantly recognisable art and Postgate’s incomparable animation, they remain a colossal founding pillar of my childhood.
Now here there is a game, a modern game, based on my most cherished of all their creations: Ivor the Engine. It’s here, in my hands. This is going to go very well, or very badly.
So, E3 is happening. Over Monday and Tuesday there were pressers and demos and a Brinks truck loaded with video. There’s always one or two things to stand out to me from these events, but the topic that’ll stay with me for awhile is maturity and the strange dichotomy in which this industry (fans included) needs more of it yet sometimes fails to recognize it when it appears. There are two catalysts for this post. One is the all too predictable trolling of Danielle Riendeau’s 100% on-point and valid piece on the lack of female presenters during the major press conferences. (Hat tip to the excellent work Danielle is doing at Polygon. We miss her a ton!) The other is a post from “Ashelia” on her Hellmode blog, defending the teaser trailer for the next Tomb Raider game against attacks that it’s made a victim of Lara Croft. (Apologies that I don’t have a real name to attribute to Ashelia.)
Originally, this post was mostly about Tomb Raider and a bit about Brothers and not laying charges of sexism where they don’t exist because it does disservice to those examples of brilliant work this industry is capable of producing. I can’t, in good conscience write on this topic without first calling attention to this sort of abhorrent behavior and state outright that when someone like Danielle speaks out on this topic and meets an ill-considered, reactionary response like this that it is all of our responsibility to condemn it in no uncertain terms. I don’t want these troglodytes, these soulless imbeciles, carrying the torch for who we are as gamers. I know we’re better than this. You know we’re better than this. But unless we slam the door on this sub-human behavior we’ll remain defined by it. And in case you think I’m overstating, enjoy this piece of human filth:
Of all the lies that are told in the context of board gaming, the biggest and most odorous are those printed on boxes alongside the legend “playing time”. Yet even amongst this exalted company, Eight-Minute Empire reaches new heights of outrage. Whatever it says on the box, the rules inside freely admit that it’s probably three whole times as much as claimed, and my experience supports that.
Of course, that’s still only twenty to thirty minutes. So I might be over-egging this pudding just a little.
Hot off the back of a successful kickstarter campaign, I really wasn’t sure what to make of Rivet Wars. It channels a first world war theme, yet presents you with a wildly incongruous steampunk theme, rendered in a weird, chunky anime style. It claims to be a board game representation of a real-time strategy game but has no resource control. What is this bizarre oddity?
Well it turns out to be a pretty streamlined two player game of tactical aggression. You pick a scenario, assemble a board out of modular components then use an allowance of resources each turn to purchase from a selection of units and march them up to the front line to contest control of critical objectives with your opponent. To spice things up a bit, both players have secret missions to fulfil for extra points, and action card that allow units to do unexpected things.
I recently picked up a second hand copy of Origin, a game that Asmodee released last year that didn’t really have much of an impact in the face of the countless deckbuilders, Kickstarter zombie miniature games, worker placement titles and LCG add-ons that crowded it out. It just came in the mail and I popped open the colorful box, depicting a friendly scene of some folks playing the game. Inside were all of these wonderful people pawns laid out in the insert each engraved with primitive detail, mimicking the kind of early sculpture the expanding civilizations depicted in the game might have made. For the first time in a long while, I was charmed by the contents of a game box and the presentation of them. Continue Reading…
Wiz-War makes me angry. I get angry when I have the wrong cards, when the dice fall wrong, when the wrong people gang up on me. But that’s good anger. The bad anger is all the years I spent not playing this great game while it was out of print, until Fantasy Flight picked up the license for an eight edition. Now, in true Fantasy Flight style, there’s an expansion: Malefic Curses.
The box contains a board and pieces for a fifth player and three new schools of magic. A lot of people have been waiting for this largely for that fifth participant, but I’m not one of them. Wiz-War is a pretty chaotic game, and works best when clipping along at a premium pace. Five, I think, is too many. The additional interaction is fun, of course, but it’s not enough to compensate for the extra downtime.
Still, the fact that the new board is purple is a bonus since it now means no-one has to play the urine yellow mage from the base game when you’re playing with four. So it’s not all bad.
Note: I originally published this article in September of 2012. I haven’t updated it for the Advanced Edition, but with Advanced Edition and the iOS port out today, I thought it worth a bump back up to the front page. Most of the advice herein remains accurate. I’ve only just begun to mess with the AE on iOS, but hopefully (maybe, maybe, maybe) I’ll have some new thoughts to post on it next week. Possibly. I think.
I am, very likely, the last person on Earth who should be writing tips guides for gamers. Nonetheless, I’ve put in enough time and spectacularly destroyed enough starships (along with going 2 for 2 in victories on Easy) that I feel I can offer you, dear reader, the chance to learn from my mistakes. Without further adu, I present to you 15 tips for surviving to the final boss in FTL:
In the past month the world of Diablo 3 has seen some tectonic shifts. The Auction House closed. Along with it, Blizzard implemented a massive patch, Loot 2.0, which has had enormous consequences for the (virtual) world economy. Oh yeah, and last week they released the new Reaper of Souls expansion that included a new class, a new act, and a new mode of play. If you’re a lapsed Diablo 3 player, like me, you might be inclined to jump back into the game and see what all the hub-bub is about. You’d be a fool to do so. You see, you’ve already got a fool right here at NHS willing to do that. The things I do so that you don’t have to.
After the break, no need to thank me…
When I cracked the shrink on Splendor (what happened to the missing ‘u’?), I got a nasty surprise. I really thought that so many people had taken the piss out of the overuse of the “Renaissance merchants impressing nobility” theme in games that it had rightly been killed, had its head cut off and its mouth stuffed with garlic-infused meeples that it was gone forever. Yet it it was again, in my hands, in 2014.
But review copies are review copies, so with a heavy heart I began to dig into the box. A deck of cards with some lovely, if rather generic, artwork depicting various scenese of Renaissance life. Some delightfully hefty gem tokens in various colours. A punchboard of nobles and a page of rules. So it was easy to learn, and it looked nice.