Your Gateway to Japon Games

Japanese board games have become very popular in the last few years, most notably Love Letter and Trains, both published by Alderac Entertainment Group and both winners of Origins Awards in 2014. What this means is that new Japanese board and card games are hotly anticipated, none more so than Machi Koro. In English, it is released by IDW Games, a publisher better known for its comic publishing. Machi Koro is a quick-playing ‘dice and card’ for two to four players, aged eight and up, in which they are each the mayor of a suburb whose residents want their district developed. Starting off with a Wheat Field and a Bakery, each player will race to build four landmark buildings—a Station, a Shopping Mall, an Amusement Park, and a Radio Tower. The first mayor to do so is the winner!

The playing time is thirty minutes and very simple. On his turn a player rolls the die and everyone will compare the result with numbers printed at the top of the building cards they have in front of them. This can generate money for everyone or just the current player, who is now free to spend it to purchase a new building or a landmark. A player can have multiples of one card type, but can only buy one card per turn.

Where Machi Koro gets interesting is how the cards generate money. There are four types. Blue cards pay out to everyone when their numbers are rolled; green only pay out on a player’s turn; red cards take money from other players they roll their  numbers; and purple cards provide an action rather an a pay-out. Note that red and blue cards pay out even when it is not a player’s turn. For example, the blue Ranch cards pay everyone one coin when anyone rolls a result of a one. The green Bakery pays out one coin on a roll of two or three on the current player’s turn only. The red Café allows a player to take a coin from the current player when he rolls a three. The purple Business Centre allows a player to swap one of his buildings with that of another player.

Initially a player will be only rolling one die. If he purchases the Station landmark, he can roll one die or he can roll both dice. This means that range of results is no longer one to six, but two to twelve, and it means that as soon as they are built, a new range of buildings and their dice results are available to him. The cards with ranges above five tend to be more expensive and have more complex effects, especially results for six, seven, and eight. For example, the green Cheese Factory, which costs five coins, pays out three coins for each card the current player has with a cow symbol on it—currently only a Ranch—anytime he rolls a seven. Building the landmarks will also give a player a benefit. The Station allows him to roll two dice; the Amusement Park lets him roll again if he rolls doubles, and so on.

Although designed for between two and four players, Machi Koro works better with three and four rather than two, primarily because there more participants for the cards to work off. Physically though, Machi Koro is nicely presented. The artwork on the cards is cute, the cards are easy to read, and the rulebook is very clear and very simple. The box comes with room for expansions, but the insert could have been better designed for that.

There have been comments that it is like Settlers of Catan without the trading or Monopoly without the mortgages. To an extent this is true. You are rolling for resources (coins) and you are buying properties as in both of those games, Machi Koro is a quicker, slicker game without the trading and without the mucking about with the banks. It is certainly better than Monopoly and whilst no Settlers of Catan, it is a well-designed little game. However, it is not perfect, but the first imperfection is not of Machi Koro’s own making. The first problem is that the game is slightly disappointing, but that can be put down to it having been overly anticipated, it having taken a year to reach us since it first appeared at Essen in 2013. Second is that its game play does not offer a great deal of depth or variety. Third, it does not offer much in the way of strategy and the primary means of getting money—the purchase of Ranches and Cheese Factories (the latter with its average roll of seven)—is obvious and difficult to counter. What game needs is an expansion and it needs it now. Two have been released in Japan— Machi Koro Sharp and Machi Koro: Harbor Expansion—and they need to be released in English before Machi Koro loses its popularity.

Now despite all this, Machi Koro will appeal to a wide audience. There one or two strategies in the game that a seasoned gamer will latch on to, but the dice rolling gives it a luck factor that will offset that to give everyone a good chance of winning. So amongst gamers it can be played to a cutthroat finish, but it also be played as a casual game. It is easy to play, it is fast to play, and it is easy to teach. This, when combined with thoroughly charming artwork means that Machi Koro is a good family game and if not quite a good gateway game, then it is very, very close.

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Tangled Trains

2014 is the year that Japanese boardgames—particularly the Japon Brand—break out into the mainstream. After all, two Japanese games won Origins Awards in 2014, both published by Alderac Entertainment Group. Love Letter won the Origins Award for Best Traditional Card Game and Trains won the Origins Award for Best Board Game—how long until one wins the Spiel des Jahres? Of course, Japanese boardgames have not sprung from nowhere, there having been a number of them published in English over the past few years. Among the first was String Railway, designed by Hisashi Hayashi, who also designed the excellent Trains and recently had the interesting Sail to India published by Alderac Entertainment Group.

The 2013 UK Games Expo Best Abstract Game Winner, what sets String Railway apart from almost every other railway board game is in the title. Railway board games fall into two types. One uses hexes with players laying railway tracks to connect towns and cities, whilst the other has the players drawing lines with crayons on a map to connect towns and cities. In String Railway the players connect railway stations, not by hexes or crayons, but string—thick, bright lengths of string.

Now published by Asmodée Éditions, String Railway is designed for two to five players, aged eight plus, each of whom is the president of his railway company. A game lasts about thirty minutes and the aim is to have the most profitable railway by game’s end. 

Its play surface is the table itself with the play area formed by a string loop that is pulled out to form either a triangle, a square, or a pentagon, depending upon the number of players—a triangle for three players, a square for four or two players (in a two-player game, each player plays with two starting stations and two sets of strings), or a pentagon for five players. Inside the play area is placed a grey loop to represent the mountains and a length of blue string that runs to the edge and represents a river. Each player then receives five strings of various lengths and a station of the same colour, the latter being placed at a corner.

On his turn, a player draws a station from the deck of thirty-four station cards. He is free to place this station wherever he likes, but he must also use one of his strings to connect this new station to a station his network is already connected to. He is free to run the string through any other station he likes as long as the new station is placed at the end of the string.

The player then earns Victory Points for the station he has placed and any stations that he has run his new placed string through. Each of the eight types of stations scores differently. For example, the Central Station scores three Victory Points, but can only be connected by five players; an Urban Station scores a player three Victory points when placed, but will lose him a Victory Point to a rival if another connects to it, up to a maximum of five players; and a Scenic Station will earn a player one Victory Point if placed on the plains, but five Victory Points if placed in the mountains. Victory Points are lost if a string crosses either the river or another string. Of course, the player with the most Victory Points is the winner.

Play quickly becomes harder and harder as more strings are placed. Players will work hard to place their stations where they can score, but their rivals cannot and work harder to place their strings to their best advantage. Even if that means pulling them to their full length or twisting them again and again; this is what makes the game fun.

String Railway is a nice looking game and the rules are easy to read. Its core mechanics are tile drawing and placing and route-laying, both quite conventional, but the placing of the strings gives the game a physicality that very few games possess. The fact that each player only has five strings means that each only has five turns, making the game quick. (The fact that both players have ten strings in a two-player game is offset by the number of players). Everyone’s last turn usually takes a little longer as they try to maximise points, but that is true of many games. 

Bright and colourful, String Railways is a solid filler. In adding a physical element to the train game genre, String Railways shows how messy and tangled up the laying of railway tracks can get.

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2004: Ticket to Ride

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, will releasing the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles to be reviewed. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

For the fourth entry in Reviews from R’lyeh’s series of anniversary reviews, we look back to the year 2004 and the publication of a successful board game that has sold over three million copies in the ten years since. Ticket to Ride from Days of Wonder would win the 2004 Spiel des Jahres award, the Origins Award for Best Board Game of 2004, and the 2005 Diana Jones award, amongst others, and it has also joined Carcassonne and Settlers of Catan—Spiel des Jahres winners both—in forming a triumvirate of gateway games. That is, games that can serve as an introduction to the hobby of playing board games, games that can be played by both board game enthusiasts and the family alike. This factor, along with its popularity, explains why Ticket to Ride has appeared on Wil Wheaton’s Tabletop series twice. First with Ticket to Ride and then with Ticket to Ride: Europe.

Designed for two to five players, aged eight and up, in Ticket to Ride the players undertake a race across the USA in the spirit of Phileas Fogg’s race around the world in eighty days. At stake is a prize of $1,000,000 for the competitor who reaches the most destinations and scores the most points. It is played out over a map of the USA and southern Canada marked with various cities connected by routes in different colours and of varying lengths.

At game’s start each player will receive a set of train pieces and some Destination Tickets. Each of these give two cities on the board that need to be connected, such as ‘New York to Seattle’ or ‘Duluth to Houston’. Completing these Destination Tickets will score a player points, but will lose him points if not completed. A player must keep one of the Destination Tickets he is given and can draw more throughout the game. He also receives four Train Cards. The Train Cards match the colour of the routes on the board and are used to claim routes on the board. For example, two four-space routes run between Denver and Kansas City, one in black, the other in orange. It would take four orange Train Cards to claim the orange route or four black ones to claim the black route. A Locomotive Card, which can be any colour, can be substituted in place of any of the cards. A player will score points for each route claimed and each route can only be claimed once.

On his turn, a player can do one of three things. He can draw two Train Cards, either face up or straight from the deck, or a single Locomotive Card; he can use Train Cards to claim a route; or he can draw new Destination Tickets. This sets up a dilemma for the player—does he take Train Tickets that he needs before a rival takes them? Does he claim a route before someone else does? If he takes new Destination Tickets can he complete them before the end of game?

The winner is the player who scores the most victory points, invariably because he has completed the most Destination Tickets and claimed the most routes. There is also an award for the Longest Route. Game play in Ticket to Ride is thus fairly simple, but challenging enough for the casual or family gamer. For the enthusiast, Ticket to Ride offers a number of strategies, such as attempting to claim as many long routes as possible or grabbing the short routes in order to block other players. Either way, Ticket to Ride is a gently competitive game that is easy to learn and easy to play.

It should be remember that what Ticket to Ride is not, is a train game. It has trains as a theme, but the game is about managing a player’s hand of Train Cards and collecting the right set of routes. That said, it can be seen as a stepping onto more complex train-themed games, for example, Ragnar Brothers’ Canalmania or Alderac Entertainment Group’s Trains. 

In the decade since its publication, Ticket to Ride has been supported with a family of core games and expansions. These enable gamers to play using dice rather than Train Cards or with new Destination Tickets, to play core games in Europe, Germany, and Scandinavia, and to take their trains onto maps set in Asia, India and Switzerland, Africa, and the Nederlands. The game has also been adapted to be played on PCs and tablets—both iOS and Android devices. This allows a player to enjoy the game by himself, against the computer or opponents around the world.

In 2014 Days of Wonder released Ticket to Ride 10th Anniversary Edition to celebrate the success of the game over the previous decade. Graphically, Ticket to Ride has been given a beautiful redesign and increased in size half again. This includes the size of the box, the map board, the cards, the train pieces, and the scoring markers. What will grab the gamer right out of the box is the board, because it is now in full colour with a colour background to the routes. The original map for Ticket to Ride was decidedly grey, but the map here is full of detail and geography, and the length of the spaces on each route is now a whole inch long!

Below the map, what will grab the gamer next are five colour tins—black, blue, brown, green, red. Each of these deep tins—labelled Black Powder Rail (black), Metropolitan Rapid Transit (blue), Dutch Flat Barrel Co. (brown), Hobo Caboose Central (green), Savannah, Florida & Circus Railway (red)—contains forty-eight sculpted, detailed plastic train pieces. These are not only visually appealing as they look fantastic when on the board, but they also bring a tactile physicality to the game. Similarly, the Train Cards have been given a major redesign. They are also increased in size to make them easier to handle and read, much in line with the Ticket to Ride: USA 1910 Expansion.

Notably, Ticket to Ride 10th Anniversary Edition includes not only the Destination Tickets from the original Ticket to Ride, but also those from Ticket to Ride: USA 1910. Together, the Destination Tickets from Ticket to Ride: USA 1910 implement three different variants in which to play Ticket to Ride. These are ‘1910’, ‘Big Cities’, and the ‘Mega Game’. The ‘1910’ variant simply replaces the Destination Tickets from Ticket to Ride with the ‘1910’ Destination Tickets and gives a thoroughly new mix of cities to connect. Instead of the Longest Route Bonus in Ticket to Ride, in the ‘1910’ variant, the Globetrotter Bonus is given for the most Destination Tickets completed. Each of the Destination Tickets in the ‘Big Cities’ variant is connected to one of eight cities—Chicago, Dallas, Houston, Los Angeles, Miami, New York, and Seattle—which makes for a much more cutthroat game as the players compete to access the same connections. Lastly, in the ‘Mega Game’, all of the Destination Tickets are used, including those from both Ticket to Ride and Ticket to Ride: USA 1910, and both the Longest Route and the Globetrotter Bonuses are given out. 

Essentially, Ticket to Ride 10th Anniversary Edition negates the need to purchase Ticket to Ride: USA 1910—or at least it should have done. For unfortunately, there is a flaw at the heart of an otherwise beautifully done, pretty reprint. What the full colour rulebook, which includes the rules in several languages as well as in English, does not include are the rules for any of the ‘1910’, ‘Big Cities’, and the ‘Mega Game’ variants. This is a major omission, one that undermines the inclusion of the Ticket to Ride: USA 1910 in the Ticket to Ride 10th Anniversary Edition.

Another issue is with the train pieces. All except one set is easy to spot and that one is the Dutch Flat Barrel Co. pieces. The problem is that the tin for them is brown and the main colour for the pieces is also brown, but they are not brown in the game. They are meant to be yellow as in the original Ticket to Ride. Admittedly, each of the ‘brown’ train pieces has a yellow stripe down each side, but surely they could have just been yellow and another type of wagon created instead of the Dutch Flat Barrel Co. wagons?

Lastly, in the ‘Mega Game’ when the Longest Route and the Globetrotter Bonuses are given out, there is not a separate card for each. Instead, they are printed on the obverse sides of one card. The question is, what happens when one player is awarded the Longest Route Bonus and another the Globetrotter Bonus?

Make no mistake, Ticket to Ride 10th Anniversary Edition is fundamentally flawed and incomplete. Which flies in the face of Days of Wonder’s reputation for attention to detail. Nevertheless, Ticket to Ride 10th Anniversary Edition is still playable and the rules for each of the ‘1910’, ‘Big Cities’, and the ‘Mega Game’ variants are available online, but again this is not a satisfactory solution given that this is a highly expensive version of an existing game and a prestigious redesign of Days of Wonder’s flagship title. Ultimately, Ticket to Ride 10th Anniversary Edition is beautiful and impressive, both on the shelf with its black box and in play when the trains start being placed. Despite its flaws, Ticket to Ride is still a great game and the Ticket to Ride 10th Anniversary Edition is a pretty addition to any gaming collection.

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Psssh-ti-cooff Fun

If you have never watched Ivor the Engine, then you should watch this video before reading the rest of this review. Made by Smallfilms, also responsible for other classics such as The Clangers and Bagpuss, this BBC children’s television classic told the tales of the adventures of a small green locomotive who lived in the “top left-hand corner of Wales” and worked for The Merioneth and Llantisilly Railway Traction Company Limited with the help of his driver, Jones the Steam. Most of us will remember the colour episodes from the 1970s, but the original six episodes were made in black and white in 1959, making the series fifty-five in 2014. So it seems as good a year as any to celebrate the series by us helping Ivor the Engine out. Which is exactly what we get to do in Ivor the Engine, a new board game designed by Tony Boydell—whose previous game, Snowdonia, also involved trains and railways, and also happened to be set in Wales—and published by Surprised Stare Games.

Illustrated by Peter Firmin, the illustrator of the Ivor the Engine television series, the Ivor the Engine game asks the players to come to the aid of Ivor the Engine and Jones the Steam in rounding up lots of lost sheep and do any number of good deeds. Designed for three to five players, aged eight and up, Ivor the Engine is a game of tidying up sheep and fulfilling tasks that can be played in about an hour or so—arguably much quicker once the players know the game. The winner is the player who at the end of the game has the most sheep—gained in  rounding up sheep and completing jobs. 

It is played out over a map of forgotten corner of north Wales, with various locations such as Grumbly Gasworks and Gwynaudolion Halt, Mrs Porty’s House and Pugh’s Farm, Tan-Y-Gwlch and Dinwiddy’s Gold Mine, and towns like Llangubbin, Grumbly Town, and Tewyn. All of these locations are connected by branch lines. In addition, a main line runs between Llangubbin and Tewyn which allows direct movement between the towns. Most of these locations consist of a single large hexes, although some consist of two, so the players need to be careful with their movement.

Besides the board with its map, Ivor the Engine consists of a rulebook, several cardboard Trucks (the players' pieces), cubes of gold and coal, plenty of wooden sheep (sheep meeples or  ‘sheeples’!), wooden tokens to represent flocks of sheep, and various cards and cardboard pieces. The cards consist of Sheep Pens for the players and a mix of Job Cards and Event Cards. The cardboard pieces include lost sheep tokens, a pair of Sleeping idris tokens and a pair of Runaway Sheep Tokens, and an Ivor the Engine Token. 

At the start of the game, the map is seeded with sheep—the number on each location determined by the random placement of the lost sheep tokens; each player receives three Job Cards, a Sheep Pen and matching Truck, plus a single piece of gold and coal each. Each player also places his Truck on the board starting with the youngest player, who also receives the Ivor the Engine Token. Three Job Cards are laid out face up alongside the board in a Card Line.

On his turn, each player does three things. The first is to take a sheep from his current location and place it on his Sheep Pen. Second, he moves his Truck. He can move from his current location to an unoccupied adjacent location along a connected single-track branch line. He cannot move into a location if another player has his Truck there and he wants to move further, he must steam up and shovel more coal into the boiler, one piece of coal for each extra location. If a player starts at either the towns of Llangubbin or Tewyn, then a player can use two coal to travel from one to the via the main line. If a player needs more coal, then he can purchase more by spending gold.

Before or after a player has moved his Truck, he can play a Job Card. Each Job Card has a task and a location, a reward for completing the task—anyway from three to six sheep, and an action that a player can do instead of completing the task on the Job Card. For example, “Fetching  Mr Brangwyn’s pigeons from” … “Llangubbin” instructs a player to travel to Llangubbin where in return for fetching the pigeons, he will be rewarded with three sheep. Alternatively, the player can use the Job Card for the action, “Make 2 extra moves.” and discard the card. Other actions enable a player to take coal or sheep or gold, put sheep back onto a location (from the supply or another player’s Sheep Pen), or take cards from the Card Line. More special actions temporarily force another player to give up any sheep he collects as they run away—this is what the Runaway Sheep token denotes, or allow him to take extra Job Cards from the deck. He also takes a Sleeping Idris token to indicate that he misses a turn for taking this special action.

What is important to know is that a player cannot complete a Job Card on a particular town or village until it has been cleared of sheep—the player who does so, also receives bonus sheep. What is also important to know is that when a player completes a Job Card he must read out the details of the Job Card. (A Welsh accent is not required for this.)

Lastly, a player takes a new Job Card from the Card Line, which is then refreshed. If the new card added to the Card Line is an Event Card, it has an event that takes effect immediately, is seeded with a single sheep, and a reward that takes effect at the end of the game. To select an Event Card from the Card Line, a player must pay a single piece of gold. For example, the “Bani Moukerjee” Event Card forces each player to move his truck to Llanmad or discard a sheep—this is the only time that the players’ trucks can be on the same location. If selected, this Event Card will reward a player with an extra sheep for each Job Card completed.

The end of game is triggered when one player ends his turn with a certain number of sheep, the number dependant upon how many players there are. Then everyone else receives one further turn to ensure that everyone has the same number of turns. Once done, everyone counts up their sheep and the player with the most is the winner.

Physically, Ivor the Engine is a lovely game. The artwork is delightful—both on the cards and on the board; the rulebook—which initially looks intimidating—is well written and easy to grasp; and the wooden sheep are, of course, delightful.

There are exactly two things wrong with Ivor the Engine, both to do with the components. First, the cardboard pieces used to represent the players’ Trucks are disappointing and add little to the game—wooden locomotives would have been far more in keeping with the charm and feel of the game.  Second, the flat wooden pieces used to represent the flocks of five sheep are equally disappointing, not to say dull, and add nothing to the game. It would have been nice if larger wooden sheep had been included to represent sheep. Of course, including such components would probably have increased the cost of what is otherwise a very reasonably priced game, but then, there is nothing to stop the owner of Ivor the Engine from replacing them himself.

At first glance, Ivor the Engine looks like a children’s game—no surprise given the source material. It is not that though, although it can be played by children. Given its length and subject matter, it offers a surprising degree of complexity that adult gamers will enjoy. There are plenty of choices to make—what sheep to take, which places to visit, and what Job Cards or Event Cards to select. The game is primarily competitive, although one player can block access to a location and some of the Job Cards give actions that target other players, so adult games can get cutthroat...

Unsurprisingly, given its theme, Ivor the Engine is also a train game, but in terms of complexity it lies somewhere between Ticket to Ride and a more traditional route-building, pick-up-and-deliver game such as Canalmania or Age of Steam. Although in Ivor the Engine there is no route-building, in effect a player is building a route by rounding up the sheep—once the sheep have been rounded up deliveries, or rather Job Cards, can be completed. Whilst there is no ‘pick-up’ aspect to the game, there is certainly delivery in the game in the form of the Job Cards. 

The complexity of Ivor the Engine means that it is not quite an introductory game—the game is more complex than say Ticket to Ride or Settlers of Catan, but not much more. For younger players that may mean that it is is more of a challenge, but for seasoned gamers, Ivor the Engine is pleasing light filler. Utterly charming, Ivor the Engine  is a delight, offering enjoyable play for casual and enthusiast gamers alike.

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Playing Fireworks Blind

Most co-operative board games have the players working against the clock or the game itself, sometimes with a traitor amongst the players trying to thwart their efforts. Battlestar Galactica, published by Fantasy Flight Games, and Grosso Modo Éditions’ more recent Nosferatu are typical of cooperative games with a traitor mechanic, whilst Z-Man Games’ Pandemic and Indie Cards and Games’ Flash Point: Fire Rescue are typical of co-operative board games without a traitor mechanic. These games have made the co-operative style of play popular and accepted, the board game Pandemic having made the breakthrough in 2008. Most co-operative games revolve around the players attempting to cope with limited information that they all share. In Hanabi, the players must share information about what each other has on their cards, but they will never know exactly what they have on their own cards.

Named for the Japanese word for fireworks, Cocktail Games’ Hanabi was the 2013 Spiel des Jahres Game of the Year Winner. The players are apprentices who are attempting to put on a firework display for the emperor, but have managed to mix up the powders, fuses and rockets. To succeed, they must launch the fireworks in the correct sequence, and if they do, they please not only the emperor, but their master too.

Designed for two to five players, aged eight and up, Hanabi consists of five sets of coloured cards—red, blue, green, white, and white, plus three red tokens and eight blue tokens. Each set consists of ten cards, each containing three cards numbered one, two numbered two, two numbered two, two numbered two, and a single card numbered five. The red tokens are failure tokens, indicating a poorly displayed firework; the blue tokens are clue tokens, used to impart information to another player about the cards in his hands.

A complete firework consists of a single colour that contains cards played in order, from one up through two, three, four, and finally, five. Completing a firework gains the players a blue token; playing a card out of sequence onto a firework, for example, playing a white-4 card onto a white-2 card, would earn the players a red token. If they gain all three red tokens, the game is over.
At game’s start, each player receives a hand of cards, either four or five, depending on the number of players. A player cannot look at his hand, but instead holds them face out so that the other players can seem them. Thus each player can see everyone else’s cards, but not his own.

On his turn, a player can undertake a single action. He can discard card to gain a blue token; he can play a card, either to an ongoing firework or to start one if there is not yet one of that colour; or he can expend a blue token to give a clue; giving clues lies at the heart of Hanabi. To give a clue, a player points to another player’s hand and imparts certain information about that hand. This can be about the cards of a single colour in a player’s hand, such as “You have a green card here” or “You have two white cards here and here”; or about the cards of single number in the player’s hand, such as “You have a three here” or “You have a four here and here”. The clues given must be complete—so if a player has two four cards, the informing player must indicate both of them. If a player discarded a card or played one onto a firework, then he draws a new card.

Play continues until either the players have acquired all three red tokens and thus lost the game; or all five fireworks have been completed in the correct order and the players have scored maximum points, or the deck has been exhausted. In the case of the latter, points are awarded based on the fireworks completed, the top card on each firework adding to the final score. A maximum of twenty-five points can be scored, with scores of between sixteen and twenty-four at least being memorable.

Hanabi is as simple as that. During play, a player is free to arrange his cards how he likes and to an extent can talk about his hand in general terms—only the other players can be specific about his hand and only after having expended a blue token. For a game as simple as Hanabi, it requires a great deal of thought and no little care, because it is a game about memory and deduction, that is remembering where your cards are in your hand and deducing which card to play next from the clues previously given. Essentially though, it is a game about communication and understanding that communication, and about remembering that communication. Get the communication wrong and potential points are lost as the wrong cards are discarded or played onto a firework.

Hanabi is also a filler game, play being expected to last no longer than twenty minutes or so. Unlike more recent filler games, for example, Coup or Love Letter, this one is not combative. Indeed, in comparison to many other co-operative games, Hanabi is benign, the players are not really playing against a game that is set up for them to fail, as in Pandemic or Battlestar Galactica. Even its subject matter is benign, but despite that and its benign mechanics, it is actually more challenging than your average filler game because it is asking the players to think and communicate. Also, where another co-operative bears repeat play by increasing the difficulty level of the game the players have to beat; Hanabi bears repeated play if a group wants to improve its score.

Despite its simplicity, Hanabi is clever because it gives us a new playing experience. One that emphasises communication and deduction to support its co-operative play.

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Down with The Resistance

 In the near future, the government has become a ‘Corporatocracy’, the CEOs of the multi-national corporations forming a new ‘royal class’. Their greed has widened the divide between rich and poor until eventually, The Resistance grew out of the oppressed masses, dedicated to the overthrow of their corporate rulers. The efforts of The Resistance have not been in vain, sowing discord, intrigue and weakness in the political courts of the ‘noveau royal’, bringing the government to brink of collapse. With government so weak, now is the time for a powerful government official to manipulate, bribe, and bluff his way into absolute power.

This is the set up for Coup, a card game of secret identities, deduction, and deception set in the same universe as Indie Boards & Cards’ The Resistance in which the players, as ambitious government officials, plot to be the one to overthrow the current regime. It is designed to be played by two to six players, aged thirteen and up, in roughly fifteen minutes. To win a player must end the influence of his rivals and force them into exile—there can only be one man to take the reins of government in this tempestuous time.

The game consists of fifteen character cards, six player reference cards, a bag of fifty coins, and an eight-page rules booklet. The fifteen character cards consist three each of five characters—The Duke, the Assassin, the Ambassador, the Captain, and the Contessa. Each of the characters can legitimately perform one or more actions, but often these actions will be ‘illegitimately’ performed by other characters. If caught doing so and challenged, then the player controlling that character will lose Influence. Lose enough Influence and the player is forced into exile and knocked out of the game.

At game’s start, each player receives two coins, two character cards, and a reference card that explains the actions that each player can undertake on their turn. The two character cards are laid face down and remain hidden until challenged. Certain actions allow a character card to be replaced, but because the two character cards represent a player’s Influence, if both are eliminated, the player is forced into exile.

On his turn, a player can conduct one of seven actions. The Income action allows him to take one coin from the bank. The Foreign Aid action allows him to take two coins, but the Duke can block this action. The Duke can also be used to conduct the Tax action and gain the player three coins. By expending three coins, a player can use the Assassin’s Assassinate action to remove one of a rival’s characters and reduce his Influence. The Assassinate action can be blocked by the Contessa—the Contessa does not have an action of her own, only this blocking action. The Ambassador’s Exchange action allows him to replace one of characters with a new one from the Court deck. The Captain’s Steal action enables him to take two coins from another player, though this can be countered by another Captain or the Ambassador. Lastly, by expending seven coins, a player can launch a Coup and remove one of a rival’s characters and so reduce his Influence. If a player accumulates ten or more coins, he must launch a Coup on his next turn.

Once a player has selected and announced his action, his rivals are free to respond with a challenge or a counteraction. This is where the game becomes interesting. A player can conduct the Income, Foreign Aid, and Coup actions with impunity (though Foreign Aid can be blocked), but every other requires that state that he has the appropriate character to conduct that action—the Captain to Steal, the Duke to claim Foreign Aid, or the Assassin to Assassinate, for example. Similarly, when issuing a counteraction, such as the Contessa’s ability to block Assassinations or the Duke’s to block Foreign Aid, a player must state that he has that character.

Of course, in stating that he has a character and is using its action or counteraction, a player might be bluffing. If either goes unchallenged, then play continues, but if he is challenged, a player has to prove that he has the character. If he does, the character is replaced by a new one from the Court deck, into which the old character goes and he does not lose any Influence. Instead, the challenging player loses a character and the associated Influence. If he does not have the character, he loses a character he does have, plus its Influence.

Whenever a player loses a character, either from a lost challenge, an assassination, or a Coup, the character is not discarded, but left face up where the other player can see it. Thus they know which characters have been discarded and to an extent, can count cards…

Play continues with the bluffing and challenging until there is only a single player left. He has won and can launch the Coup. Players need to be careful with their challenges as losing characters and Influence means reducing their choice of actions that they can prove if challenged. They should also be aware of any rival accumulating enough money to launch a Coup, which cannot be blocked. Although bluffing is part of the game, a player should also be prepared to use the characters and their actions he has as he can prove their use. Do that often enough and he might be able to bluff his way through a turn. Of course, a player may have to bluff because he does not have the characters he needs.

Physically well-produced, Coup’s cards have an Italianate, almost Dune-like feel to them. That said, the game’s theme is light and easy to grasp. The game itself is simple, and like any decent filler, plays fast enough to repeat once or twice in a session. 

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Courtly Missives

Turn the clock back thirty years and the ‘Microgame’ was a small board game packaged complete in a small box. Typically they were a type of wargame printed on paper stock and heavily themed. The first was Ogre*, published in 1977 by Metagaming Concepts, but over the course of the next decade, it would be joined by titles from notable publishers such as Steve Jackson Games, Task Force Games, and TSR, Inc. In modern gaming parlance, a Microgame is a little game, a game that can be played in fifteen minutes or less. The other change to the Microgame concept is that they are no longer wargames, but are instead mini-euro style games that emphasise competition rather than combat.

*The irony is of course that the most recent version of Ogre, published by Steve Jackson Games weighs close to 30 lbs. Some microgame…

Love Letter is typical of this new style of Microgame, although untypically, it is not a European game. Originally published in Japan, Love Letter has since been published in several English language editions by Alderac Entertainment Group, better known for the games Smash Up! and the Legend of the Five Rings RPG and the Collectible Card Game (CCG) it is based upon. The first is Love Letter – Tempest Edition, which is set in the City-State of Tempest and comes in a cute velvet bag; the second is Love Letter – Kanai Factory Limited Edition, which uses the art from the original Japanese version of the game; and Love Letter – Legend of the Five Rings Edition, which is set in Rokugan, the same setting as that of the RPG and the Collectible Card Game. It is this version of the game that is being reviewed today, suitably on St. Valentine’s Day.

The Imperial princess, Iweko Miaka, the youngest of Empress Iweko’s children is eligible for marriage. Her betrothal is set to be a great contest between the seven samurai clans of the Emerald Empire—for in winning her hand in marriage a samurai will bring great standing and glory to his clan. Of course, such an important marriage will be entirely political, but surely the only daughter of the Empress has her mother’s ear and so will have some say as to the man who will marry her? Thus what better way to influence the decision than by winning the heart of the princess herself? Unfortunately, Iweko Miaka is a shy young creature, one who hardly speaks at court and interacts rarely with the visiting courtiers. Thus she cannot be approached directly and another means of contacting her must be found—that of the courtly letter. Her suitors are thus trying to get a letter to the princess via one of her inner circle, from her guards and her courtiers to her hatamoto and her sensei, all the whilst fending off the suits of rival samurai.

Designed for between two and four players aged ten and up, Love Letter – Legend of the Five Rings Edition is card game that consists of just sixteen game cards, four reference cards, and thirteen Tokens of Affection as well as a tiny, thirty-two page rules booklet. The game altogether comes in an attractive velvet bag, this time green rather than the red of Love Letter – Tempest Edition. (Unlike the Love Letter – Kanai Factory Limited Edition, the Love Letter – Legend of the Five Rings Edition does not include any promotional cards). The game is played over a series of rounds in which the players attempt to press their suit. Their aim is have the card with the highest value at the end of each round—if they do, then that player is awarded a Token of Affection. Garner enough Tokens of Affection, the number depending on the number of players, then their suit has been successful and Princess Miaka’s hand has been won.

Each of the cards has a value of between one and eight, ranging from one for Seppun Tasuke, the Guard to the eight of the Princess herself, Iweko Miaka. Each card also has an ability that is triggered once it is discarded. Seppun Tasuke, the Guard, can select a player and ask him if he has that card, forcing him out of the round if he does. The Courtier, Shosuro Yamazaki, can examine another player’s cards, as can the Diplomat, Kaiu Akemi, but when the Diplomat does so, the two cards are compared and the suitor with the lower value hand must retire from the round. When discarded, the Shugenja, Isawa Tenkawa, prevents a suitor from being targeted for a whole turn while Matsu Misato, the Hatamoto, forces another player to discard his hand and draw a new hand. The Manipulator, Doji Takato, forces another player to trade hands with the suitor, while Togashi Gozato, the Sensei must be discarded if a player has either the Manipulator or the Hatamoto in his hand. Lastly, if the Princess is discarded, she has received the suitor’s letter and thrown onto the fire. That suitor—or player—is out of the round.

At the start of the game, the sixteen card deck is shuffled and one card discarded face down. This acts as a random element so that the players do not know ‘exactly’ what is in the deck. Then each player receives one card—this is his hand. On his turn, he draws another card and must discard one of the two cards he has. Each discarded card has an effect as described above, but is discarded face up so that every player can see what cards have been played. There only being fifteen cards in the deck, the players have some idea as what cards have been discarded and what still remains in play—essentially, Love Letter – Legend of the Five Rings Edition encourages the counting of cards—as do the other versions of the game! Play continues until the last card is drawn and its player discards one of his cards. Then each player reveals the single card he has in his hand and the player who has the card with the highest value has successfully pressed his suit and earns a Token of Affection from Princess Miaka.

Love Letter – Legend of the Five Rings Edition is a game of deduction and risk, one in which what a player can do on his turn is limited to just one of two actions. These will often force a player to do something to his disadvantage because it is the better of his two options. For example, Louise holds Princess Miaka in her hand. It has a value of eight and if she can hold it until the end of the round, then Louise will have managed to get her letter directly into the hands of the Princess and thus won a Token of Affection. On her turn she draws the Manipulator, Doji Takato. Her choice is to discard the Princess, but this would force her out of the round, or Doji Takato, which means that she has to trade hands with another player. She opts for the latter, trading hands with Dave, gaining Seppun Tasuke, the Guard. While the Guard only has a value of eight at the end of the round, it can be used to name another card and if successful, force a player out of the round. Louise has gained valuable information—she knows what card Dave has. Dave also knows this, but likewise cannot discard the Princess. Fortunately, on his turn Dave draws the Shugenja, Isawa Tenkawa, and goes to pray with him, preventing his being targeted until his next turn. Thus Louise cannot use her Guard to name the Princess—yet!

So is Love Letter – Legend of the Five Rings Edition a fitting Legends of the Five Rings game? Thematically, it is perfect fit. Not least in the fact that the bag it comes in has the symbols for Rukogan’s five elements—air, earth, fire, water, and void—embroidered on the back, and that the art used to illustrate the game is drawn from the publisher’s extensive back catalogue used to illustrate both the CCG and the RPG. The art also specifically illustrates characters within the setting of the Emerald Empire. Further, within the Emerald Empire, the sending of letters is a courtly art. In addition, the functions of the cards have been mapped onto particular figures. For example, the most common card type in Love Letter is the Guard, but here the same function is performed by Seppun Tasuke, a member of the imperial family tasked with protecting the Empress. Similarly, the ability of the Clown in Love Letter to examine another player’s hand is adopted by the Courtier Shosuro Yamazaki from the Scorpion Clan and the ability of the General in Love Letter to trade hands with another player has been given to Doji Takato of the Crane Clan who is described as a Manipulator.

The setting of the imperial court of the Emerald Empire is supported by the rulebook. It runs to thirty-two pages, much of which is devoted to detailing the characters on the cards, which if the players want, adds depth and feel to the game. Fans of Legend of the Five Rings, whether of the CCG or the RPG will appreciate this aspect of the game. Certainly there is enough background here that knowledgeable players could bring a degree of roleplaying to the game as they play.

With a playing time of some thirty minutes, Love Letter – Legend of the Five Rings Edition is perhaps a bit too long to really qualify as a Microgame. Although it is possible to play with two suitors, it is not as enjoyable a game to play—simply it plays better with three or four players. (It is disappointing that the game does not accommodate more players, but that should not be held against Love Letter). With three or four players then, it is a solidly designed filler game, one that combines the need for careful deduction and a little guess work with a fitting theme. Managing to be both charming and quick, Love Letter – Legend of the Five Rings Edition is a lovely game that fits nicely into any games collection.

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Finding Romeo

Where art thou Romeo? is not even a ‘Microgame’, it is something smaller. Indeed, the game’s full title, Where art thou Romeo? A Nano game set in the World of the Council of Verona, gives substance to its tiny size. Released as a near ‘Pay What You Want’ project on Kickstarter, Where art thou Romeo? is a card game inspired by Shakespeare’s Romeo & Juliet and published by Crash Games that can be played in as little as five minutes. It consists of five cards, plus the rules, and is quick to learn as it is to play. It is a ‘role’ game in which players takes turn being Juliet who is looking for her beloved, Romeo. Depending upon their roles, the players will score points if Romeo is found or if he is not found.

The five cards are all role cards. The first is Juliet. The other four each have two roles on them, so for example, Romeo and Count Paris are one card, whilst Mercutio and Benvolio are on another. At the beginning of each round, one player will be Juliet whilst the other players are each given one card. Each of these other players will choose one of the two roles on their card. So for example, a player receives the Nurse/Tybalt card and must choose to be either Tybalt or the Nurse for that round. Whatever role these players choose, they must keep it a secret until Juliet asks everyone to reveal their roles.

As the players are choosing their roles, a lobbying period of roughly thirty seconds ensues. During this period, Juliet essentially asks the question, “Where art thou Romeo?” and the players have to convince her of the fact whether or not they are Romeo. By the end of the period the players must have selected their role and then Juliet gets to choose which player she thinks is Romeo.

The aim of the game is to score as many points over the course of its several rounds. The numbers gained each round depends who Juliet chooses. She scores the most points if she chooses Romeo, as does Romeo, the Nurse, and Friar Laurence. Mercutio also scores the most points if Romeo is chosen, but will reduce the points gained by both Romeo and Juliet. Benvolio, Tybalt, and Prince Escalus all score a point if Romeo is not chosen or Juliet cannot decide.

The players are free to tell Julia whatever they like during the lobbying period, bar revealing their identity. It is clearly in the interests of several of the roles for Julia to identify Romeo—certainly Romeo, the Nurse, and Friar Laurence have no reason to lie when it comes to stating whether or not they are Romeo. Likewise, Mercutio certainly wants Romeo found, though for different reasons and thus will not lie about his not being Romeo. Benvolio, Tybalt, and Prince Escalus, as well as Count Paris, all have an interest in Romeo not being found and so are likely to lie. This may change as one person gets ahead in terms of points, but in a ‘Nano game’, it should be no surprise that the tactics are ‘Nano’ too.

Physically, the game’s five cards are sturdy and presented in black and white on a sage background. Currently and disappointingly, Crash Games has no plans to develop further titles as ‘Pay What You Want’ projects on Kickstarter—for reasons that are explained here. That said, Tasty Minstrel Games has picked up this baton with titles such as This Town Aint Big Enough for the 2-4 of Us! PWYW, Burgoo - A PAY-WHAT-YOU-WANT game of community stews, Templar Intrigue - A Werewolf type game by @tastyminstre, and Coin Age - A PAY-WHAT-YOU-WANT area control microgame.

There are numerous hidden role games available at the moment, from The Resistance and Coup to Battlestar Galactica – The Board Game and Love Letter. In comparison to those titles, Where art thou Romeo? is likely to get a little lost, but then its slight scope and playing time combined with the fact that it reached only a limited audience, this is hardly surprising. Yet this should not be held against the game. After all, Where art thou Romeo? is a five minute, $5 game that is understandably light and undemanding.

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Viking Orders

Mijnlieff is an award-winning game from Hopwood Games, designed Andy Hopwood, a boardgame designer who lives local to me. Winner of the Best Abstract Game at the UK Games Expo 2010, Mijnlieff is all about controlling your opponent’s turns, forcing where they can play a piece whilst you try and lay the most lines of three. Designed for two players, Mijnlieff has a Viking theme and is essentially a variant of ‘Noughts & Crosses’ or ‘tic tac toe’, but a very clever one at that.

The game consists of four plain playing squares, each marked with four squares, and two sets of eight playing pieces, one white, the other red. The playing squares are usually laid out to create a four-by-four square grid, but other layouts are possible. Each set of playing pieces consists of four tiles – two Straights, two Diagonals, two Pullers, and two Pushers. When played, each tile tells an opponent where he must place his next tile. A Straight tile forces the other player to play a tile orthogonally to the one played; a Diagonal forces him to play a tile diagonally to the one played; a Puller forces him to play a tile adjacent to the one played; and a Pusher forces him to play a tile away rather than adjacent to the tile played. The playing tiles are clearly marked and easy to understand.

Each turn a player places a single tile. If a player cannot place a tile because he is blocked, then he loses a turn. For each line of three tiles – orthogonally or diagonally – that a player can lay, he scores a point. The player with the most points wins the game.

Mijnlieff is a simple game, but it does force a player to think about the consequences of his next move. Not only that, but he needs to think about what his opponent will play and how he can stop him. It is thus much thoughtful a game than the traditional ‘Noughts & Crosses’ or ‘tic tac toe’ and as a consequence takes a little longer to play. It is still a quick game though, and several games can be played in quick succession.

If there is an issue with Mijnlieff, it is that it is only available from Hopwood Games, but the good news is that Astraware has adapted the game as an app available for iOS and Android devices. It is free to download, but to get the very fullest use of the game does require in-game purchases – these include being able to play against more than two opponents at a time and to be able to rearrange the board other than a square. Once downloaded, the tutorial quickly teaches you how to play and then you are off, defeating – or not, one Viking after another, each progressively a more challenging opponent. In addition, you can play against your friends, random opponents, or with an opponent with the device between you. Visually, the game is well presented, there being a satisfying heft and click as the playing tiles are played and a slightly sharp ringing sound as lines are scored.

Either version of Mijnlieff is worth adding to your games collection. Both serve as an excellent, if thoughtful filler game for two players – there being advantages to both versions. It is a clever variation upon a very basic game, the one that we first played when we were children, that in Mijnlieff offers more play and more challenge.

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Your Choice

The newest game from Looney Labs, best known for the Fluxx family of games and the time manipulation card game, Chrononauts is Choose One. This is a party style game much in the vein of Apples to Apples or Say Anything in that it is all about knowing your friends and the answers they might give to certain questions or matches. It plays quickly and easily with simple rules for between three and ten players; a game should last no longer than forty minutes and can be picked up and understood within moments of opening the box and reading the rules sheet.

Choose One consists of ten sets of pairs of Choice cards, three hundred Topic cards, a Score Board, and a mix of scoring tokens that fit in a little cloth bag. The scoring tokens are really rather nice and include a metal nut, a plastic brain, a wooden heart, and even a button! These are used to indicate each player’s score on the score board and provide some pleasing individuality. The Score Board is solidly mounted and is marked from one to ten and then a “Winner!” space. The Choice cards are used each round to indicate a player’s choice and come in a pair one blue and one white card. The Topic cards each have a blue and white section and have single word or phrase in each, for example, “an evening home alone” or “attending a party” or “Lost” or “Gilligan’s Island”. (It should be noted that the blue on both the Topic and Choice is a very purple shade of blue).

At game’s start, each player is given a set of Choice cards and receives a hand of five Topic cards. He chooses a token and places on the Start spot on the Score Board. Then play begins. Each turn, one player is the Chooser and picks a Topic card from his hand and shows it to the other players. They have to decide which of the two choices the Chooser will select. The Chooser indicates his choice by holding either his blue or white Choice card, face down. In doing so, the Chooser has to make a truthful choice. In other words, he cannot bluff. The other players will also select one of their Choice cards and hold it face down in front of them. Once everyone has made their choice, the cards will be revealed. If nobody’s card matches the Chooser's answer, then the Chooser gets two points. If any player’s card matches the Chooser’s answer, then both they and the Chooser are awarded a point. If nobody guesses correctly, then nobody gains any points. Points are tallied on the score board and the next player becomes the Chooser. The first person to move their token onto the Winner's Circle – having scored eleven points – is the winner. (Having to score eleven points to win makes the game slightly harder to win, as does the fact that somebody has to make the wrong choice for anybody to score points).

So for example, Richard is the Chooser and plays the Topic card that has “candles” in the white portion of the card and “Lava Lamp” in the blue section. He reads the entries out and makes his by placing a Choice card down on the table. James, Nick, Matt, and Bill take a moment to decide which they think of the two options that Richard will choose and play a Choice that they think will match the one played by Richard. Everyone reveals their Choice card. Richard’s Choice card is Blue, that is, he chose “Lava Lamp”. As did James, Nick, and Bill, but not Matt, who played a White Choice card thinking that Richard’s choice was “candles”. Richard, James, Nick, and Bill are all awarded one point, but Matt scores nothing.

Choose One is a nicely appointed game. It comes in a small box and is thus easily portable. Its rules are simple and the game is easy to play – undemanding in fact. Its Topic cards are American, but then so is the publisher and the game’s intended audience. Given that the game’s tag line is, “How well do you know your friends?” it is no surprise that it plays better with people that you know and people that know you, be they friends or family. Overall, Choose One is a pleasing party filler that tweaks a familiar format.

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Think Fluxx

As many copies as have been sold in the fifteen years – almost a million according to publisher Looney Labs – Fluxx the Card Game is divisive a design. The problem for many players is that the game is purely random, is too chaotic, and can last anywhere from two minutes to sixty minutes… That there is no way in which any one can win other through random chance. To an extent, this is true, but Fluxx the Card Game is a game about change and adapting to that change, from one turn to the next. Personally, I quite like playing Fluxx, although I prefer the versions without the Creeper mechanic unless thematically appropriate as in Martian Fluxx or Zombie Fluxx, because otherwise, the Keepers slow the game down. Now Looney Labs has turned Fluxx into a board game, and the question is, will Fluxx the Board Game be as good or as bad some think that the card is?

Designed for between two and four players, aged eight and up, Fluxx the Board Game uses much of the same mechanics as the card game, but as its title suggests, it uses a board and playing pieces. What the board represents are objectives to be reached – such as Cookies, Money, the Rocket, Dreams, and so on – and matched to the Goals given on the Goal cards. These objectives can be reached by moving a player’s pieces around. A player simply has to have his pieces on these objectives to gain a Goal, and where in Fluxx the Card Game a player only needs to have his Keeper cards match one Goal card in order to win, in Fluxx the Board Game, a player has to match and win multiple Goal cards in order to win. This being a ‘Fluxx’ game though means that everything is subject to change. Just as in Fluxx the Card Game, the number of a cards a player must draw, play, and discard fluctuates during Fluxx the Board Game, but being a board game, the number of times a player can move his pieces, the actual colour of the playing pieces he can move, the number of Goals he needs to acquire in order to win, the board layout, and the rotation of the tiles are all also subject to change.

The board consists of nine square tiles. One of these is the Start Tile, the other eight represent the playing area. Each of the eight tiles is divided into four spaces, three of which are objective spaces for Goals and one of which is either where there can be more than playing piece or portal that links to a portal on another tile. Together these nine tiles are arranged into a square with the Start Tile at the centre. Two additional tiles serve as the Control Boards. One for the Goal cards, five of which are randomly placed face up in a stack; the other a peg board used to indicate how many cards a player draws, plays, pieces he moves, and his hand limit as well as if he rotate and move tiles, and move off the edge of the board and onto the other edge. A set of pegs are slotted into the spaces.

The cards are also divided between the familiar – to anyone who has played Fluxx the Card Game, and those new that take account of the new playing area. Action cards will be familiar and do various things such as ‘Taxation!’ which forces rival players to each give you a single card or ‘Discard and Draw’ which lets a player effectively change his hand. New Action cards interact with the board and playing pieces. For example, ‘Back to Square One’ forces the playing pieces of every other player back to the Starting Square and ‘Rotate Colours’ forces players to change the colour of the playing pieces they control. New Rule cards like ‘Hand Limit’ will be familiar although instead of the limit being set by the card, the player now shifts the appropriate peg on the board, whilst ‘Rotate On’ and similar cards turn the board movement on or off. Goal cards remain unchanged from Fluxx the Card Game except for setting the objectives that the players need to move to claim each Goal card. The new Leaper cards send playing pieces to a particular Objective, like ‘Music’ or ‘The Eye’, or to any ‘Octagon’ or ‘Portal’ space. Lastly, the Color cards determine which playing pieces a player currently controls.

At the start of the game each player gets to adjust the control pegs up once and receives a hand of three cards and a color to determine his initial playing pieces. Five Goal cards are placed on the Goal Control Board all face, the uppermost one setting the initial objectives.

On his turn each player draws a number of cards, then plays cards and moves pieces, and then discards cards, all according to the positioning of the pegs on the Control Board. A player is free to play cards and move pieces in any order that he wishes, and this is where the game begins to get interesting. To start with, if a player moves a playing piece into a space already occupied, it bumps the playing piece already there into an adjacent space – except for Octagon spaces which can hold more than one playing piece. That is the least of it because a player can also examine the cards in the Goal stack, though not change their order, so thus he knows what Goals and what Objective spaces he needs to reach throughout the game. Plus a player may also have Goal cards in his hand and these can be played onto the top of the Goal stack to claim. What having this knowledge of the Goals and their Objectives throughout the game means is that a player can actually plan both his card use and his moves. If he is clever, it is possible for a player to use his cards and move his pieces to gain more than a single Goal in just one turn.

What these together add is a strategic element to Fluxx the Board Game that is not present in Fluxx the Card Game. They also serve to counter the random element so often criticised in Fluxx the Card Game. Not completely though, as the cards drawn and the actions of rival players still effectively have a randomising effect. The great thing is, is that it does all this without adding anything in the way of complexity.

If there is anything disappointing about Fluxx the Board Game it is the Control Boards and the pegs. The latter do not always sit easily in their holes and it is sometimes difficult to keep track of which peg is meant to sit in which hole. That said the other components are decent enough and the playing pieces are pleasingly differentiated by both colour and shape. The rules are clearly written, but another  pleasing touch is the inclusion of a box that explains the differences between Fluxx the Board Game and Fluxx the Card Game.

In developing Fluxx into Fluxx the Board Game, the designer has created a game that is more thoughtful than Fluxx the Card Game. Still a light game though, so suitable for a family audience, but still just enough of a challenge so as not to bore a gaming audience. 

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Once Upon a Card Game

Once Upon a Time: The Storytelling Card Game is twenty years old. Originally published in 1993, AtlasGames released a third edition in 2012 after several years of the game being out of print. This has allowed the game’s designers to tinker a little with the mechanics and Atlas Games to redesign the cards, all the whilst retaining the game’s simple play and theme. As its title suggests, Once Upon a Time is a game about fairy tales, in particular, it is a game about telling fairy tales, one that has both co-operative and competitive elements. Designed to be played by two to six players, Once Upon a Time encourages creativity and collaborative imagination in adults and children alike.

The game consists of three types of cards – Story Cards, Interrupt Story Cards, and Ending Cards. The Story Cards form the basis of each player’s story and each illustrates an element to be found in fairy tales and is further divided into five categories. These five categories are Character – for example, ‘thief’ and ‘child’; Thing – for example, ‘food’ and ‘door’; Place – for example, ‘village’ and ‘garden’; Aspect – for example, ‘disguised’ and ‘frightened’; and Event – for example, ‘fighting’ and ‘falling in love’. The five categories are also colour-coded. Interrupt Story Cards share the same categories and colour coding as the standard Story Cards. Each can be used as a normal Story Card, but each can also be used to interrupt another player’s story when that player plays a story card of the same category and colour coding. Together the Story Cards and Interrupt Story Cards make up the Story Deck. Each Ending Card gives an end to a story, for example, ‘he lived the rest of his life as a beggar … which was perfectly just.’ or ‘the flames rose higher and the wicked place was destroyed.’

At the start of the game each player receives a handful of cards from the Story Deck – the number varying according to the number of players – and a single Ending Card. On his turn each player tells a story, his aim being to mention the elements on his cards and bring them into play. Once a player has brought all of his Story Cards into play, he can play his Ending Card, using its text to complete his story. The first player to do so wins the game.

In the meantime, a storyteller’s fellow players will be listening to the story. If the storyteller mentions an element that another player has a Story Card that matches that element, then he can play it to interrupt the current storyteller and take over. Similarly, a Story Interrupt Card can be played to interject the current storyteller and take over if the category of the Story Card played by the storyteller matches that of the interrupting player’s Story Interrupt Card. A storyteller can also be interrupted when gets stuck, rambles, tells a silly story, fails to properly incorporate the elements on his cards, and so on. A storyteller can also pass the story onto another player, but whenever he passes his story or losses control by other means, he must draw a new card from the Story Deck. 

For example, in a four-player game, each player receives seven cards. Dave receives the Story Cards, ‘beautiful’, ‘window’, ‘book’, ‘key’, and ‘door’, and the Story Interrupt Cards, ‘kitchen’ and ‘treasure’. He also receives the Ending Card, ‘So he told her was a prince and they lived happily ever after.’ Stef receives ‘king’, ‘tree’, ‘making mischief’, ‘sword’, ‘parent’, and ‘journey’, and the Story Interrupt Card, ‘returned’. His Ending Card is ‘and the kingdom at the end of the tyrant’s reign’. Dave begins his story about a girl who is kept locked up by her mother. Dave did not play a Story Card to bring this element into play, but Stef has a Story Card, ‘parent’, which although not an exact match, is a close enough fit to successfully interrupt. Thus Dave not only has to relinquish control of the story, but has to draw another card from the Story Deck. 

Stef’s story is about a tyrant king and towards its end, he tells how the king rushed to get his ‘sword’ in order to defend himself when attacked, but as he plays the ‘sword’ Story Card, Dave interjects with a cry of “Interrupt!” and plays his ‘treasure’ Story Interrupt Card. Thus he regains the control of the story and tells how it was not a sword that the king first ran to when attacked, but his ‘treasure’!

Whenever one player takes over from another as storyteller, he must continue telling the same story. He is free to incorporate new elements from his Story Cards, but he cannot ignore those have already been included as part of the on-going story. This is the game’s collaborative aspect.

Physically, Once Upon a Time is very nicely produced. Everything has been done in full colour, with all of the Story and Story Interrupt Cards each given its own piece of art. The cards are clear to read, as are the rules, which manage to fit everything into four pages, including examples of play and a short discussion of how the game can be included in the classroom. A leaflet available for download from the publisher’s website expands on the information given here. One issue is with the packaging, or rather the lack of internal packaging which means that the cards are left to rattle around in a large box.

It is difficult not to see Once Upon A Time as the spiritual ancestor to co-designer James Wallis’ The Extraordinary Adventures of Baron Munchausen. In that game, the competitive element has been increased and the theme has been matured and broadened, if not made wholly magnificent. To an extent, Once Upon A Time is also the spiritual ancestor to Gloom, also published by Atlas Games, but while that opts for a darker, if not a maudlin tone, it also opts for greater complexity. Once Upon A Time is a much lighter game, both in terms of tone and mechanics, thus making it suited to all ages, though in an adult group, there is nothing to prevent their incorporating some of the darker elements of the original fairy tales, though they are not supported by the game’s Story Deck. One option there would be to use the Create-Your-Own Storytelling Cards expansion to add such elements. Other expansions available include Enchanting Tales – Tales of Enchantment and Magical Adventure and Seafaring Tales – Tales of Pirates and Seafaring Adventure which take the core game in differently themed directions, whilst the Once Upon a Time Writer's Handbook explores how to turn a tale created using the game’s cards into a piece of fiction.

What is surprising is that despite its age and despite the simplicity of its design, Once Upon a Time has never been re-themed. Perhaps with the release of the third edition, this might be a possibility? In the meantime, Once Upon a Time: The Storytelling Card Game is a thoroughly engaging game that combines the charm of fairy tales with simple, elegant rules and lovely production values that spark the imagination. 

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