Over the past decade of writing regular columns and reviews about board games, there are a few games that in retrospect I likely over-rated, games that in time have lost luster or simply receded from my attention. But there are even fewer games that I’ve felt that I under-rated at release and have come to appreciate more over time. Claustrophobia, a dungeon-crawler from the French designer Croc, was released way back in 2009 and it is quite possibly the single game that I have most dramatically missed the mark on as a critic. And with a rather unexpected new expansion, Furor Sanguinus, out from Asmodee it’s a great time to revisit this stunning, singular title while also taking a look at the new addition.
I’ve never been to rural Wisconsin. But now I feel like I have, thanks to The Vanishing of Ethan Carter.
I’ve walked through gently shaded autumnal woods, watching rags of mist gathering on distant peaks. Wandered across a dam, marvelling at the sun reflected on the lake beneath and pools of recent rainwater on the pavement. Climbed a hill amongst ancient, mossy boulders with grass waving around me, just to see the view at the top.
I noticed long ago that when people who tend to run role-playing games choose to play instead, they always pick wizard characters. Why? It’s all about power. If you’re used to having the ability to dictate reality on a whim, you want a character that can do it too. Power is a key part of wizarding’s appeal.
And there’s no greater demonstration of power than being able to summon fantastic creatures and bend them to your whim. It’s what’s always been missing from Wiz-War, and now it’s here with the Bestial Forces expansion. And while there’s no extra player figure and board in the box, there are an awful lot of other interesting spells and variants too.
Imagine if you will a rock band. Let’s postulate that this rock band- who are pretty good but not particularly groundbreaking- got signed on to be the closing act for a festival where the penultimate acts scheduled before their set time were Elvis, the Beatles and the Rolling Stones. Galaxy Defenders, from Italian publishing house Ares Games, would be analogous to this band.
Let’s get the ugly part of this review out of the way up front. Deus, the new game from Troyes designer Sebastien DuJardin, is the least attractive game I have seen in quite some time- at least since the original edition of Glory to Rome insulted aesthetic sensibilities and assaulted good taste some years ago. The game, coming to the US courtesy Asmodee, is packaged in a box mostly the color of tapioca pudding with badly chosen fonts (dropshadows and lensflare, really?) and drab, muted artwork of stern figures from mythology, who really don’t have much to do with the game. Nothing about it says “fun”. Especially not the title, which isn’t very descriptive of the action at all.
Once you’ve gotten it open, you find these awful-looking blobby terrain tiles with irregular spaces. Which would be fine, but someone thought that putting red, blue and yellow terrain on them was a good idea. Beyond that clash of colors, there are inconsistencies in the color scheme throughout. Wood is produced by green tiles and is indicated by a green icon but the tokens for the resource are brown. Speaking of brown, you’ll find references to brown buildings throughout the rules and cards, but there aren’t any. They’re orange. Even the coins are mis-colored, coming in denominations of gold, silver and…green. The victory point chips look like wrestling belts with a crappy, plain black system font slapped on them. Other than the badly executed custom bits, this title is stocked with stock pieces- you’ve seen all of these bits before in other games. It almost looks like a prototype someone put together with generic bits, apart from the cards and tiles.
The good news, despite a failure in the visuals department, is that Deus is actually a very good game.
The Battle at Kemble’s Cascade- despite its unwieldy title-stuns at the box level. Z-Man games pulled out all of the stops, graphically. Featuring an illustration straight off of an arcade cabinet circa 1987 with fine detail such as simulated wear, stripes and a just-right font choice, the epic “shoot the core” battle scene twixt spaceship and giant boss tells you right up front that this game is inspired by and pays tribute to classic scrolling shooters like Gradius, R-Type and Raiden If that elevator pitch is enough to get you into the cockpit, ready to dodge a million bullets, then you might be in for a surprise.
This episode brings me, Brandon, and special guest Patrick Lindsey together to talk about every facet and angle of Civilization: Beyond Earth. When is a solid, competent game a disappointment? You’ll hear why here. This week we’ve also got Sherlock Holmes, Galaxy Trucker, Borderlands, PlaystationTV, first impressions of Dragon Age’s Keep and a bottle of ale that I won’t shut up about. It’s all here!
There are lots of heavy strategy games that make me feel like a bad player. There are even a few that make me feel like a bad person for decieving and manipulating my way to victory. Five Tribes is the first game that made me feel like a bad reviewer. Because, even after many games, I can’t quite make up my mind how I feel about it.
The design itself doesn’t help. It feels like designer Bruno Cathala poured a random assortment of mechanics into a pestle, ground it up, and put the fragments into a box. There’s still identifiable chunks of games like Mancala, Carcassonne and even Cyclades in there. But there’s also a lot of dust that feels familiar, yet annoyingly elusive.
Asmodee/Liebellud’s Lords of Xidit is a wonderfully colorful game with a distinctly French fantasy style. Set in the same game world as last year’s card battler Seasons and with a loose (mostly titular) connection to the popular Dixit line of storytelling games, the narrative puts the players in the role of “Idrakys”, noble heirs in a kingdom whose cites are quickly becoming overrun by creatures corrupted by an encroaching darkness. It is up to the Idrakys to travel along the kingdom’s roads and recruit fighters to turn the tide against the monsters. But it’s not a co-op game. Each Idrakys seeks treasure, favor with the powerful Sorcerer’s Guild and glory as proclaimed by the land’s bards. There can be only one and all of that. It’s a reprint of a fairly obscure Eurogame from a few years back called Himalaya. Continue Reading…
The first time I played Hyperborea, the new big box release from Asmodee designed by Andrea Chiarvesio and Pierluca Zizzi, I thought about a couple of other games. Those games were Eclipse, Runewars, Cyclades, Kemet and Nexus Ops. Over the course of the 90 minutes or so that it took to play, I went from furrowing my brow at it, wondering if the rulebook was making the game seem much more complicated than it actually was, to absolutely loving it. By the end, my knee-jerk one-game opinion was that it was better than the first game I had in mind, tighter than the second, as good as the Matagot titles, but obviously not a time-honored classic like the last. After a few more games logged with it, I think it’s one of 2014’s best releases and I’m still anxious to get this streamlined, cunningly designed fantasy 4x game to the table again. Continue Reading…