The design and business of gaming from the perspective of an experienced developer

Author: Damion Schubert (Page 4 of 125)

Top Board Games of the Decade (2010-2019)

Normally, I do a ‘top 100 games of all time’ on an annual basis on Twitter, but frankly, that list was getting stale – moving around 90 of the same games as last year. But using the decade framing forced me to narrow my focus and give more room for the lesser games to breathe.

When evaluating, I used a very crude criteria, roughly categorized as:
*

  • 25% Historical Impact. Was this game important, or part of something important/
  • 25% Groovy Game Mechanics. I’m a game designer. I like designs that try interesting things, even if they don’t always work out.
  • 50% Personal taste. It’s my list, so suck it, haters.

100. Nemesis (2018) The closest you can get to Aliens the Board Game without the designers being hit by a cease & desist by Fox. This semi-coop gives each players different goals that tend to emerge at the worst time – usually when the not-quite-aliens are hatching.

99. Doughnut Drive-Thru (2015) A simple worker (er, doughnut) placement game, players can either place a doughnut or claim all the doughnuts on a location. This simple mechanic can get rather cutthroat, as it becomes possible to finagle your opponent into having dead turns.

98. Fleet: The Dice Game (2018) Roll and writes were a thing late in the decade. Most of them washed off me, but one that still hits my table is this fishing-themed one, where you’ll try to build the biggest fleet of crab trawlers to supply your personal Joe’s Crab Shack.

97. Bora Bora (2013) A dense Stefan Feld Euro that tragically takes as long to teach as to play. The central mechanic is sweet, though, using dice to claim action space. You can only place dice of lower value, but higher value dice provide stronger actions.

96. Las Vegas (2012) Roll dice, then commit all of one number to that number’s casino, hoping that no one bids more dice than you do. This dice-rolling game is so simple you can build it with index cards, but it’s still a compelling play that’s extremely easy to teach.

95. Detective: City of Angels (2019) Detective-based games were a thing late in the decade, and this gumshoe-themed one was the best I played. A DM keeps the story on the rails, while each detective searches for clues & competes to solve the case first.

94. Battle of the Bards (2019) A dice-based deckbuilder where you end up rolling fistfuls of dice and trying to build the optimal medieval travelling quartet. This is a sleeper – no one talks about it, but its hit the table a lot since my kickstarter came in.

93. Porta Nigra (2015) In this game, you’ll try to build the tallest towers in the land, by… er, being the best brick purchaser in Porta Nigra. A couple of odd rules quirks, but this is a game with a fantastic table presence when you’re done.

92. Village Pillage (2019) What happens if you try to turn rock-paper-scissors into a more substantial game. Players will choose one villager to play to face off against the player to their left, and to their right, and whoever wins the RPS gets the rewards.

91. Underwater Cities (2018) A tableau builder where you form a network of domed cities, and advance them to farm resources and connect them to metropolises. Some say it’s the next Terraforming Mars – it’s not THAT good but definitely has a more streamlined midgame state.

90. Escape Plan (2019) A long, thinky eurogame from the designer of Kanban. Each player is a criminal attempting to blow town after a big heist, and along the way they’ll be raiding safe houses, grabbing the cash, and possibly turning on their friends.

89. Firefly (2013) This long, sprawling game is an unparalleled space sandbox, allowing players to traverse the galaxy, running jobs and avoiding Reavers & the law. This game is a true love letter to the Firefly license, dripping with glorious browncoat flavor.

88. QueenDomino (2017) A simple domino-based game where players build kingdoms, trying to build contiguous terrain to maximize scoring. Very similar to KingDomino, but it has a couple of additional features which adds some much needed complexity to the formula.

87. Mysterium (2015) One player plays a spirit, passing picture clues to gumshoes without speaking, and they need to work together to use these clues to figure out the details of murder cases they are solving.

86. Wingspan (2019) This relatively lightweight tableau builder revolves around your ability to build a collection of birds with special powers. The theme is not for everyone, but if you like yourself a good Sibley’s Field Guide, this game may be for you

85. The Gallerist (2015) A complex but beautiful Euro, this game has you as an art gallery owner, managing shows and recruiting up and coming artists. The worker placement game has a neat twist allowing for free turns if someone activates a space your assistant is on.

84. Blueprints (2013) Other dice drafting games have since supplanted it, but this is among the first. Players draft dice, and stack them, attempting to build simple buildings out of optimal materials. Great, quick game with slightly wonky scoring.

83. Cacao (2015) A tile laying game similar to Carcassonne, this has you as a chocolate farmer in the jungle. I like this game because it’s highly interactive – choices you make will be giving free resources & scoring to your opponents.

82. Defenders of the Realm (2010) Pandemic with a garish Ameritrash fantasy coat of paint. Players will work together, traversing the kingdom, completing quests, finding artifacts and beating back orc and dragonkin hordes before rampaging boss creatures can take the capital.

81. Scythe (2016) Rebuild a society in the wake of the Russian Revolution, if said revolution was post-apocalyptic and involved Mechs. Great action selection mechanic, FANTASTIC art. Worst part of the game is that it looks like a wargame but its not.

80. Nothing Personal (2013) A pure social heirarchy game where players will politic, scheme and deal in order to get to the top of the mob scene, where you can force other players to kiss your ring. A well-executed game in the tradition of Kremlin and Chicken Caesar.

79. Elder Sign (2011) The great ones once again threaten the world in this Lovecraftian dice-based coop game, and the only way to defeat them is to fight the forces of evil in the museum gift shop.

78. Keyflower (2012) An economic village building game that hinges upon a strange auction mechanic based upon meeple color. Look, this game is deep, intricate, wonky and very good but there’s no way to explain it in the length of a tweet.

77. Love Letter (2012) Hey, you remember when Love Letter was a thing briefly? Remember that? They made a whole bunch of variants, including a friggin’ Batman one, if that makes any sense. Anyway, this is still a pretty solid little filler social deduction-like game.

76. Fuse (2015) The only real-time game I can really stand. Players roll dice and then try to use those dice to defuse bombs — as quickly as possible. A very light, often funny coop game.

75. Dominant Species (2010) You play a class of animals (mammals, insects, etc), and your goal in this worker placement game is to breed, migrate, and fight your way across the continent before the ice age comes. Incredibly chaotic, swingy fun.

74. The Reckoners (2018) The dice-based coop gameplay shines, but honestly this is one game where the theme is king: you and your friends are fighting back in a world where the superheroes went bad and now rule the earth.

73. Tiny Epic Galaxies (2015) A simple, relatively quick 4X game that fits in your pocket. Ironically, the thing I don’t like about TEG is it’s size – your marketing gimmick gets less cute as my eyes get shittier with age, guys.

72. My Little Scythe (2017) A cute, half-hour long variant of the hard Euro Scythe, designed in part by a six-year-old (really) who wanted to play it with dad. Her design made the game center upon pie fights and chasing friendship hearts by sharing. Yes, it’s higher than Scythe.

71. Black Orchestra (2016) A tense coop game that will probably involve you escaping from a nazi prison repeatedly, Black Orchestra harkens back to a simpler, nobler time when everyone agreed that punching Nazis and killing Hitler was generally a good idea.

70. Tyrants of the Underdark (2016) This is effectively a dudes-on-a-map strategy game with a deckbuilder engine. Also, be sure to dig out your old Hot Topic gear, as it’s set in the gothiest of D&D’s settings, Drow Central.

69. Everdell (2018) It’s the tree that grabs your attention, an attractive yet useless bit of table presence. But behind that, there’s a clever furry-themed tableau builder that should appeal to fans of Imperial Settlers or Terraforming Mars.

68. Yedo (2012) It’s Lords of Waterdeep with ninjas. A worker placement game complicated by a Night Watchmen who will block off entire city blocks of placement locations – and one whose patrol can be manipulated to bedevil your opponents.

67. Teotihuacan: City of Gods (2018) Players will move workers – represented as dice – around the board. As they do so, the dice will increment, giving their actions more power. Centerpiece of the game is the great pyramid players are working to assemble.

66. Castles of Mad King Ludwig (2014) I could talk about the interesting auction system but honestly the appeal of this game is building crazy castles and having frank discussions as to why your king has attached a sex dungeon to the butter room.

65. Roll For The Galaxy (2014) For a while, dice versions of popular games were all the rage, and this is one of the good ones. Roll takes the iconography and core action selection from Race for the Galaxy and, frankly, it all works better in this more streamlined game.

64. Museum (2019) An attractive set collection game where you work as the curator of a museum, trying to assemble the best grand collection.

63. Splendor (2014) Acquire chips, trade chips for cards which may make better cards cheaper. This simple engine-building game kicked off a craze, and while it’s been surpassed, it still remains the best game of the genre to introduce to people new to the hobby.

62. Star Realms (2014) Star Realms (and its fantasy-based brother Hero Realms) are both small, delightful deckbuilding games. In this one, you’ll build the best possible fleet and use this to engage in fleet battles against your opponent.

61. Imperial Settlers (2014) An engine-building assymetric card game, this game centers upon a core ‘three ways to play a card’ mechanic which leaves you with plenty of options on your turn. I haven’t gotten to the followup Empires of the North yet.

60. Gloomhaven (2017) It’s not ‘best board game of all time’ good, but it’s still plenty good: a legacy deckbuilding tactical dungeon diver, all packed in a mammoth box containing a gazillion figurines and a large enough campaign to last most groups years.

59. Snowdonia (2012) Building the railroad’s going to take time and cooperation, as players work to clear rubble & lay track to towns on the way to Snowdonia. I like the weather system, which makes it easier or harder for players to progress the game based on luck.

58. Paladins of the West Kingdom (2019) An interesting take on worker placement, where a player’s workers are color-coded and different worker color combinations are required to activate a space. This one will probably move up as I play it more.

57. Dead of Winter (2014) I’m sick of zombie games, too, but Dead of Winter takes the familiar ‘actually the humans suck’ motif of the genre and spices it up with competing motives and a unique storytelling event system that makes this a TOLERABLE zombie game.

56. Tokaido (2012) There’s almost a zen-like nature to this one, a Japanese-themed game that challenges you to take the best walk, find the best views, and soak in the best hot tubs. It’s aesthetically gorgeous, incredibly simple and yet surprisingly vicious.

55. Walk the Plank (2013) You and your fellow players are the most disgraceful pirates on the ship, and in this game you’ll jockey position to try to avoid becoming fish food. A cute filler game with a fun premise.

54. Sheriff of Nottingham (2014) The best ‘customs official simulator’ on the market. You’ll give goods to the sheriff, declare the contents, and then hope desperately you can either con or bribe him to get your illicit contraband past him.

53. Yamatai (2017) An abstract game with an island trade coat of paint, you’ll distribute boats to enable you to build houses & temples. The turn order mechanism (players choose their turn order along with a resource grant for next turn) is a standout game mechanic here.

52. Between Two Cities (2015) In this game, you build two cities, one on your left & one on your right, each with the neighboring player. Innovative and a great intro game, as experienced players are encouraged to help newbies succeed. Great at high player counts too.

51. Fields of Arle (2014) Everything that is good from Agricola – the upgrades, the agriculture, the farming and trade – and none of the bad, all in a package tightly balanced for two players. I particularly like the spring/fall game mechanic in this one.

50. King of Tokyo (2011) Basically Godzilla Yachtzee. Players roll their dice three times, hoping to get enough matching dice to be able to attack their enemies, activate their powers, and terrorize Tokyo. Relatively easy for kids to grok too.

49. Space Base (2018) There were similar games before it – Machi Koro & Valeria Card Kingdoms – but Space Base was the one that finally put all the pieces together in the ‘build a tableau of dice targets’ genre that was fun, interesting and balanced. This one’s got legs, folks.

48. Forbidden Desert (2013) The best of the Forbidden series, this cooperative game was inspired by Pandemic, but the classic formula is subverted with the Windstorm game mechanic, which will hide valuable treasures and rearrange the game board, confounding your escape.

47. Five Tribes (2014) Innovative take on mancala gameplay, players will empty a square and move a number of squares away equal to the tribesmen they picked up, and gain bonuses for where they placed as well as the last tribesman to be placed. Great, but prone to Turn Paralysis.

46. Raiders of the North Sea (2015) A clean, relatively quick viking-themed worker placement. The core mechanic has you picking up one worker to take its action, and dropping another to take a second, which creates more interactivity than normally seen in worker placement games.

45. Aeon’s End (2016) Merges the deckbuilding of a Dominion with cooperative play, you’re a team of mages trying to banish Very Bad Things from the Realm. The mechanic I like is the way decks are flipped, not shuffled, which gives you more control over what you draw.

44. Mombasa (2015) An intricate Pfister Eurogame that has you colonizing and trading in 17th century Africa. The handbuilding mechanic in this game is the real gem: players play cards in rows but pick up columns, forcing them to balance short-term needs & long-term planning.

43. Bunny Kingdom (2017) A Richard Garfield production, this game mixes a grid-based Territorial Control mechanic similar to Acquire with a card drafting game, and adds in dozens of adorable rabbit meeples.

42. Anachrony (2017) A time travel based worker placement game where you will literally go into the future and steal resources from yourself, and then cause paradoxes if you fail to repay them. Beautiful, haunting and yet silly at the same time.

41. Argent The Consortium (2015) Otherwise known as the “The Succession Plan of Dumbledore, Only Without The License” game, this wizard-school worker placement game gives each worker powers, resulting in the meanest, most chaotic worker placement game I’ve ever seen.

40. Francis Drake (2013) A eurogame broken into two phases, and unlike most two-phased games, both are actually pretty interesting. Phase one has you competing for resources, and phase two has you play mind games to be the first to grab the Caribbean’s treasures.

39. Arkham Horror The Card Game (2016) It’s like Arkham Horror only it’s card-based and has some semblance of balance. At this point, it’s got a million expansions and I confess being way behind on them.

38. Kanban (2014) A deep, complex, thinky point salad that perfectly captures the feeling of being a middle manager working at a car factory, complete with game mechanics around hiding from your boss because you don’t have your shit together yet.

37. Millenium Blades (2016) Perhaps the most meta game on the list, it’s a board game where you are a CCG player, opening boosters, building decks and competing in CCG tournaments. Only, you know, it’s a board game. God, describing this game makes my head hurt.

36. Captain Sonar (2016) In this 6 or 8 player game, you’ll divide into two teams, both of whom choose a captain who will proceed to lead their subs into battle, until it all devolves into a hilarious shouting spree because Captain Jackass doesn’t know west from east.

35. Stockpile (2015) An easy to grok, quick to play stock trading game based upon imperfect insider information, bluffing, and a ‘friendly’ auction system that helps keep the game competitive.

34. Grand Austria Hotel (2015) As far as I’m concerned, this is absolutely the best strudel-based hotel management game on the market. The dice drafting mechanic is underrated for how deviously interesting it can be.

33. Merlin (2017) A Stefan Feld game with production values! Merlin is a rondell movement game, and its very, very good, but I moved it down because luck pays too large a role – not so much in the dice you roll as much as the quests you draw off the top of the deck.

32. Concordia (2013) A trading and expansion game set in the Roman empire, Concordia will have players compete for economic dominance. The star of this game is the hand management/deckbuilding system, which determine the strength of their actions.

31. Arboretum (2015) A deceptively elegant hand management & tableau-building game, where players must build a beautiful park and then keep the right cards in their hands to defend the right to score it. Simple, attractive, and deeper than it first seems.

30. Alien Frontiers (2010) Players will compete to colonize a planet in this dice placement game with shades of Kingsburg, but both streamlined and with a more aggressive edge. One of Kickstarter’s first board game success stories.

29. Mystic Vale (2016) Deckbuilding is old and busted – CARD building is where it’s at. Mystic Vale is a dominion-like where players assemble their cards from transparent plastic sheets to, er, build the most mystic of vales or something.

28. 7 Wonders (2010) The simple design, simultaneous gameplay, popular theme and ability to scale to 7 players gracefully made this the default ‘shit, too many people showed up for game night’ game of the decade.

27. Dinosaur Island (2017) In this theme park simulator eurogame, you will attempt to determine what number of guests can acceptably be fed to your exhibits to maximize profitability. The art style takes the 80s Miami Vice Neon knob and yanks it all the way to 11.

26. Sagrada (2017) This dice drafting game is the best stained glass window construction game on the market, and unlike the last time I made this joke, this year there’s actually some competition in the field.

25. The Castles of Burgundy (2011) Stefan Feld’s most popular game (but not his best) is somewhat drab but compelling, as players roll dice to draft tiles in order to flesh out their little chateau. Plays great at all player counts, and quickly once you know what you’re doing.

24. Red7 (2014) One card in the middle dictates the rules. On your turn, you can add a card to your tableau, and/or replace that rule card, changing the game’s win condition. But- you must be winning at the end of your turn or you’re out. Quick, tight pocket timefiller.

23. Orleans (2014) A bag-building game – as you advance your trade empire across France, you’ll add new workers to your pool that helps you further expand. I still haven’t played it’s llama-based sister game Altiplano yet, I should get around to that.

22. Blood Rage (2015) Ragnarok has fallen upon the land, and you and your fellow vikings fight to achieve ultimate glory before everyone dies. This game mixes card drafting, truly awesome minis and tightly balanced gameplay for one of Eric Lang’s best designs.

21. Azul (2017) This short, thinky filler game is the best ‘building a bathroom floor’ simulator you’re going to find on the market, with WAY more ‘fuck you’ to it than you initially would have guessed.

20. Gugong (2019) A really weird ‘worker placement’ game using cards instead of workers. Lots of games have core mechanics where you can screw your opponents over. The brilliance of this game is the high frequency when you will screw your opponents over by ACCIDENT.

19. Eclipse (2011) Part Space 4X game, part economic builder, the beauty of this design is the way they model how huge empires become inefficient and difficult to maintain.

18. Tzolkin: The Mayan Calendar (2012) It’s hard to escape the allure of the bigass wheel in the middle of this thing, a game component with huge visual appeal as well as adding a weird time-based component to the worker placement genre that breaks your brain in wonderful ways.

17. Century Golem Edition (2017) The engine-building genre was huge near the last half of the decade, and Century Spice Road was the best, with a simple core loop that still provided great depth. But if you get it, splurge for the Golem edition – the only difference is the art.

16. Caverna (2013) Agricola was not a very good game. However, it had several very good ideas, most of which found their way into Caverna, a deep game about building your farm, breeding animals, making babies, and sending them to adventure in the dungeons.

15. Lords of Waterdeep (2012) Little Timmy’s first worker placement game, this paints a surprisingly tight and simple Eurogame in an Ameritrash coat of paint where you effectively play the questgiving NPC in a D&D setting. The expansion’s corruption mechanic is great, too.

14. Quacks of Quedlinburg (2018) A bag-building, press-your-luck game, where you and your opponents will throw potion ingredients into their mystical brews and hope not to blow themselves up. Plays best with a rowdy table.

13. A Few Acres of Snow (2011) A two-person deckbuilding wargame set in the French & Indian war, this is a great game if you can overlook the colonialist tones of hiring indians to go beat up on the other guys’ indians. Hard to get now, but well worth it if you can.

12. Dominion (2008) Not released in this decade, but ultimately too important to leave off. Dominion’s core deckbuilding mechanic showed up in hundreds of games in the teens, being perhaps the most influential game of the decade. And it still holds up on its own right.

11. Architects of the West Kingdom (2018) It’s hard to say what’s better: that this is a worker placement game where you start off with a small horde of workers who amplify the effects of each other, or the fact that throwing your opponent’s workers in jail is a core mechanic.

10. Trajan (2011) A mancala manipulation eurogame about gaining power and influence in the Roman empire. It’s not pretty, but it’s deep and thinky, and it’s my favorite game from my favorite designer. It will break your brain if you play while drunk, though.

9. Great Western Trail (2016) A hand management/rondell traversal game centering upon your desperate attempt to upgrade shitty cows into better cows before you reach Kansas City. @AlexxPfister had a great decade, and I think this was his high point.

8. Star Wars Rebellion (2016) Often described as Star Wars in a box, this is asymetric gaming excellence at two players, with one playing an Empire drowning in resources and starving for information, and a Rebellion just hoping to scrabble around long enough to survive.

7. Terraforming Mars (2016) A tableau building game that ultimately centers on who can throw asteroids at the planets’ surface the best, this game can sometimes get a little long and yet few people seem to care or notice. An odd hardcore game that casuals will be okay playing.

6. Bang! The Dice Game (2013) Social deduction games were ‘a thing’ in the teens, and honestly I’m antisocial enough to shrug off most of them. The dice variant of Bang! was always an exception, being fast, fun, boisterous and random in all the best and worst ways.

5. Magic the Gathering: Commander (2011) MTG is the undisputed king of self-reinvention- watching them do so is a game design clinic. Several great expansions, but Commander stole the show, providing a great multiplayer experience designed to let the WEIRD cards hit the table.

4. Yokohama (2016) In this Economic Worker Placement game, you will walk on the backs of your assistants to drop fish off at church. Often described as ‘Istanbul on crack’. Don’t be intimidated by the table presence, this is a masterpiece of surprising depth

3. Champions of Midgard (2015) An Ameritrash worker placement game about vikings, adventure, and trying to con your neighbor into taking care of the annoying troll so you don’t have to. Valhalla expansion adds new life to the game by… making you root for the death of your squad

2. Clank! (2016) The magical thing about this deckbuilder-with-a-board is that the core clank mechanic is so novel and interesting that the end of every game is gripping and hilarious, as you desperately try to crawl out of the dungeon before the dragon goes supernova.

1. Pandemic Legacy Season One (2015) You knew a Pandemic had to be on the list. It’s tight, it’s epic, it’s hilarious, it’s depressing, and it is perhaps the best of 2 hot trends in 2010s gaming: Legacy and coop gameplay. Pandemic Legacy is my game of the decade.

‘The Rise of Skywalker’ is a Beautiful, Incomprehensible Mess

WARNING: SPOILERS

About midway through The Rise of Skywalker, our heroes find a dagger. On that dagger, are the secrets to find a McGuffin – but those secrets are written in the language of the Sith. C3P0 is forbidden to translate them – but they can find a hacker who can erase those blocks. The catch is that C3P0’s memories will be erased in the process. C3P0 gives a long tearful goodbye to his friends. At the last second, he has another idea – but the gang immediately unplugs him before listening to it. Fifteen minutes of screen time later, his memory is fully restored when Artoo backs him up from the cloud.

This half-assed writing and plot development is endemic in The Rise of Skywalker, a film that is gorgeous to look at but utterly soulless and baffling to watch. The plot moves forward at a breakneck pace, and there’s never any gravity to anything and so it never feels like the stakes are real. And most amazingly, the film manages to simultaneously be incomprehensible yet thoroughly predictable at all times.

Fun topics of debate about this film:

  1. What the fuck WAS the Emperor’s plan? First, it was to kill Rey. But then it was to have Rey kill him? And then it was to get the two lovebirds together? This is incoherent. Nothing regarding what happens in the first two films or first half of this movie makes sense in regards to Palpatine is orchestrating things.
  2. If you’re going to make the central plot of the new trilogy a love story between Kylo and Rey (good!), why are you going to keep Finn pining pathetically after him? The triangle is never a plot point, Rey and Finn have no chemistry, and Finn has literally chemistry with every other young actor that comes in his orbit.
  3. Are you really going to tell me that the planet busting technology that previously required a death star or planet to power now can be miniaturized on any star destroyer?
  4. You do realize that Ben Solo never did anything to actually earn his redemption, right? After his resurrection he…. fought his way to Rey, nearly helped give the Emperor ultimate power, and then was thrown in a ditch where he was pretty much completely irrelevant to the final showdown.
  5. In TLJ, the Rebellion sent out a distress call and literally NO ONE came. In this movie, EVERYONE did. Why? Is Lando really that charming?
  6. Also, everyone who says that the space chase in TLJ was too short for Finn and Rose to go to Canto Blight, how long do you think it takes to crew and assemble the largest frickin’ civilian fleet in the history of space?
  7. Has there ever been a ‘twist’ as preposterous and undersold as Hux’s flip? Also, wasn’t his death a little out of the blue for someone who was a major Big Bad in Episode VII? Y’all really couldn’t do something more interesting with that?
  8. You morons are really going to enter the hangar on the star destroyer guns blazing?
  9. Chewbacca’s captured, mostly offscreen! Now he’s dead! Now he’s not! It must have been that other shuttle we never saw!
  10. The Knights of Ren sure ended up being unimpressive, huh?
  11. Everytime Rey left the gang to go out on her own into an incredibly dangerous situation, only for Finn to follow her like a puppy dog, I wanted to throw something at the screen.
  12. Why, exactly, was Finn mad that Rey wasn’t out in space with the gang? “You’re our best fighter!” Well, sure, but that mission needs the best PILOT.
  13. Was Princess Leia’s final act really to kill her son? I realize JJ had to cobble together stuff with found footage, but that feels like you done her dirty.
  14. The Lightspeed Skipping made me actively angry. Suddenly, not only can everyone jump to hyperspace from a planet’s orbit, that’s likely where hyperspace will land you! Also, apparently every TIE fighter now has light speed capability as well as the technology to follow people through hyperspeed. One person on Twitter said this was ‘Star Tours: the Movie’ and I agree.

There are things I liked about the film.

  1. I liked that they built upon the Force Bond of TLJ, making Ben & Rey capable of fighting and transferring weapons. Some really slick moments came out of that.
  2. Many of the new characters were great, especially the conehead droid, Jannah and Babu Frik. They were awesome.
  3. Some absolutely beautiful shots. This was a movie designed via storyboards first. I just wish each moment had flowed better to the next.
  4. The actors that played Rey and Kylo Ren did a fantastic job. I’d love to see more Rey in the future.
  5. Poe and Finn’s bromance was awesome. Their patter was almost uniformly excellent.
  6. I loved the mountain town planet (Kijimi). You know, the one the empire destroyed.

Overall, this was ‘meh’. I’d put this somewhere between Aquaman and Revenge of the Sith. And the more I read other people trying to defend the film, the more I think I’m right.

As a final thought, remember when I said this film was beautiful? It is. Enormous spectacle. Clearly this was put together via storyboard. And yet, a day later I can remember very few visuals from it that weren’t in a commercial. Compare that to The Last Jedi (a film I love) and the great shots in those: Luke finding the kids force touching, Yoda destroying the tree, Holdo’s Charge, Luke’s last stand, Luke fading away. There’s just no comparison. And that’s because Rian knew not just how to compose a beautiful shot, but how to make it pay off as well.

I Unabashedly Love “The Last Jedi’s” Cranky Hermit Luke

Many TLJ haters are the sorts of knuckledraggers incapable of seeing any woman or minority in a sci-fi movie without launching into a spittle-flecked rant centering upon the ess jay dubyas punctuated frequently by assorted herps and derps.  Their opinions can, needless to say, be ignored and mocked without anything significant or intelligent being lost from the discourse.  Still, there is a surprising amount of people who I consider to be rational and intelligent who do not recognize that The Last Jedi was a brilliant film and that Luke’s journey is why.  Needless to say, these people, however well-meaning are wrong.

This film begins where The Force Awakens left off, with Rey handing Luke his own lightsaber.  He immeidately grasps the enormity of the situation and…. no, I’m kidding, he immediately chucks it over his shoulder.  This is, of course, a source of great outrage for a great many Luke fanboys, who pissed their padawan vestments when Luke turned out to be anything less than the epic warrior we last saw.  This outrage overlooks that, when we first met Yoda, George Lucas spent ten minutes trying to convince us he was actually just comic relief.  In truth, the parallel is clear – Luke’s place in TLJ is Yoda’s in TESB.

Yes, Luke is a hermit now, as was not only Yoda but also Obi-Wan before him.  Both of those warriors effectively retired and went into hiding at the height of their powers and abilities.  So did Luke.  Luke abandoned his role as a Jedi with the transformation of Ben Solo into Kylo Ren, rather than fight him, allowing the First Order to emerge.  This may seem uncharacteristic of Luke, but it eerily parallels Obi-Wan and Yoda doing the same when Darth Vader and the Empire emerged.  Which when you think about it, seems like a bizarre dereliction of duty for everyone.  What’s going on here?

There are some differences.  Luke is a hermit, sure, but unlike Obi-Wan, he has no interest in taking a new student.  This may seem wacky, but remember, Yoda was in no hurry to teach Luke either, proclaiming Luke to have ‘no patience’ and to be ‘too old’.  Still, Luke seems to have gone from being a paragon of hope to Debbie Downer.

Luke hermitage seems even more extreme than Yoda or Obi-Wan.  He cut himself off from the force entirely – which means it’s entirely likely he didn’t see Rey as a potential force sensitive, but rather as a message for his sister to reengage with the fight.  He has no interest in that.  He made it clear he came to Ahch-To for one reason – to die.  Why is that?  What turns a Jedi into a hermit so severely?

One clear answer is guilt.  Luke thought he could raise up an entire Jedi order.  Instead, his actions resulted in the death of all of his students, and the rise of Kylo Ren and the First Order – and the loss of his Sister’s son.  Entire star systems would be extinguished by Luke’s hubris.  Similar guilt is also hinted at by Obi-Wan, who said of Darth Vader, “I thought I could instruct him just as well as Yoda.  I was wrong.”


And then there’s the guilt of what he almost did.  The man who had such faith in his ability to turn his father that he went on a suicide mission to redeem him in ROTJ saw visions of such horror that he could find nothing to redeem in his nephew.  In a moment of weakness – possibly kindled by Snoke’s machinations – he ignited his lightsaber, and immediately realized his mistake.  But that moment – that horrible failing – was the one that turned Ben into a giant rage baby.


The second answer is recognition that the Jedi Order created its own villains.  As Luke says, “The Legacy of The Jedi is failure, hypocrisy, hubris.”  Palpatine and Vader arose at the height of the Jedi’s power, and to some degree with their unwitting aid.  Similarly, Kylo Ren learned to use and hone his powers from a Jedi.  Would he have been so terrible a villain if he had, much like Leia, never been taught to hone his force sensitivity?  


If the Force always pushes the galaxy towards Balance, doesn’t it stand to reason that great Jedi will always result in great villains to counter them?  If so, is it irresponsible to create great Jedi if there are no villains to fight?

The third reason is more interesting, and centers upon how Luke differs from Yoda.  Luke is terrified of himself.  Here, a good parallel to consider is The Lord of the Rings.  One of the central themes is the recognition by people like Galadriel and Gandalf that they, of all people, cannot carry the ring.  They are too powerful, and the risk that they will be corrupted and therefore agents of evil is too great.

Luke knew he had the darkness in him.  He knew the Skywalker curse was in Ben’s blood — but his as well.  He almost succumbed.  If he had struck down Ben, he would have himself fallen into darkness.  In a fit of fear, likely with the help of Snoke messing with his mind, Luke had a moment of doubt, before he realizes how close to the abyss he came.


If Luke had gone to the Dark Side at the end of Jedi, it would have been one thing.  He was a barely trained Jedi of limited power then.  But Luke in TLJ is a full-blown master now, capable of incredible acts of force manipulation spanning the galaxy.  Him becoming a Sith would have been disastrous for the forces of light.  He is angry, he is fearful, he is full of all of those emotions that Yoda trained him would lead to the dark side.  He believed, deep down, that maybe he was the monster that Palpatine once saw in him. So rather than risk himself falling into darkness, he did the only responsible thing: he cut himself off from the force entirely.

And so then he sees Rey and Kylo playing Force Footsie, which prompts Luke to freak out.  Far from being an overbearing helicopter Dad playing cold blanket, Luke is freaked out on multiple vectors.  Not only is there concern that Kylo might be manipulating her directly, Luke can see a budding romance.  The Jedi teaches against having strong emotion, and against having strong emotional bonds.  The Order used to recruit force users while young specifically so they wouldn’t have familial bonds.  Anakin, for example, was turned partially due to the tragedies involving his mother and wife. Luke’s judgment about Ben/Kylo was undoubtedly clouded by his familial relation to the boy.  In his mind, the bond between the two lovers could only lead Rey to the dark side.

It’s worth noting that that’s why Snoke forged those bonds.

And then we get to the final fight.  Many TLJ detractors were disappointed that Luke didn’t finish TLJ with a huge fucking Michael Bay style fight where Luke takes on the whole First Order.  They forget that the Luke’s pivotal moment in ROTJ was THROWING AWAY HIS LIGHTSABER.

(He would throw away another lightsaber at the beginning of The Last Jedi, and don’t tell me that parallel isn’t significant).

“A Jedi uses the Force for knowledge and defense, never for attack,” was the core of Yoda’s teachings. “Wars do not make one great.”  Whether this pacifism was a core teaching that the Jedi as a whole took seriously (we see a lot of eager warrior Jedi in the prequels, for example), it clearly was the path that Luke took to heart.  It was his own path to the Light Side at the end of Return of the Jedi.  How significant, then, that Luke found a solution that saved Leia and the resistance that embraced the pacifist path of Yoda’s teachings that saved him in Return of the Jedi.

Yes, instead of letting rage consume him and plunging into a fight, he found his inner calm and peace – and in doing so showed a new, truly awesome aspect of the force.  We’re talking Astral Projection convincing enough to mindfuck an entire army.  This is, by far, the most powerful display of the Force we’ve seen in a Star Wars movie, and one that allows Luke to reconnect with the Force and save the day without risking falling into darkness. 


After that, Luke stares into the suns.  His theme plays, as he reflects on his life and his path through it.  He is now smiling for the first time in the movies.  He has reconnected with the Force, on his own terms, and now without fear, allows himself to become one with it.  He disappears, surely destined to help guide our heroes through the next chapter as his master did for him.

The Last Jedi is a top three Star Wars movie.  It’s not without its flaws (the ponderous gas chase, the overly Disneyesque stampede scene), but Luke’s journey is one of the best character arcs of any Star Wars film, and that alone elevates it.  This plotline adds something very real and deep to the psychology of the Jedi.  It dares to ask the question: why did these great Jedi exile themselves from the fight? How do they carry the price of failure?  How do they deal with the knowledge that they are latent superweapons waiting to happen?  

And the answer is ‘poorly’.  Jedi in the Star Wars universe that reach old age do not remain productive members of society.  The Last Jedi gives you an understanding of why that is.  And I’ll admit, as someone who watched Star Wars as a child in the drive thru and am no feeling the effects of age, Luke’s journey speaks even more to me. So all you young kids who think that this was a bad movie, or that somehow it diminished Luke Skywalker, get the fuck off my lawn and go learn to Star Wars.

A Nuanced Parable Of The Steam/Epic Debate

Imagine you’re a sex toy manufacturer.

Imagine you make some of the best vibrators the world has ever seen. You’re one of the best at it in the whole world. Your marital aids have won major awards. Your best work has routinely sold out faster than you can make them. Jenna Jameson has enthusiastically endorsed your work and your company – and uploaded personal demonstrations to Pornhub. Your lead dildo designer has been referred to as the ‘Michaelangelo of Personal Massagers’.

And your next creation is gonna be amazing. It’s got 6 speeds. It’s got several attachments that look like they came straight out of a Hentai. It’s dishwasher safe. It’s got wifi so you can pleasure your girlfriend from 500 miles away. It automatically pulses in time with whatever’s playing on Spotify. It transforms into a robot, and its got a built-in cappacino machine for when you’re done.

Everybody is eagerly awaiting your newest vibrator. Your new toy was the most discussed topic at the latest DildoCon. Sex toy aficionados are buzzing about your joy buzzer all over Reddit. You’ve been making magic wands for a long time, and everyone expects great things.

Now then, for years and years, you’ve sold your selfie sticks primarily at Dildo-Mart. And they give you the same deal you’ve gotten for years: we’ll give you $39 dollars for every orgasmatron you manage to sell. This deal has been good for a long time. It’s tempting.

But a new upstart has come along. Vibrators R’ Us wants to sell your new lady sticks too, and they’ll give you $53 per vibrator they sell – even though they’ll still sell it at exactly the same price. That’s… a lot.

But wait, says Dildo-Mart. We’re the biggest sex toy shop in the world. Everyone in America is within 10 minutes of one of our fine, upstanding family stores. Also, if you sell a whole BUNCH of dildos, we’ll improve your take to $45 per dildo.

And Vibrators R’Us responds, well, $53 is still substantially more than $45. Also, while we’re not quite as close to everywhere as Dildo-Mart, everyone in America is within 15 minutes of one of our stores.

Dildo-Mart says ‘but wait! We have forums! We have trading cards of dildos! We have ratings on our web site!’

And Vibrators R’ Us responds “We’re going to add all that, but how relevant is that, really, once you’ve turned the vibrator on?” Then they pause and say, “$53. Dollars. Per. Vibrator.”

If you were a generic, crappy sex toy manufacturer, you might be crazy to take that deal. After all, most people go to the store that’s closest to them. But you’re not. You know that people have been waiting years for this sex toy. They’re planning on taking time off work the day it comes out.

So why on earth would you sell your new toy at Dildo-Mart? If you are fairly sure that everyone is going to actively seek out your amazing new creation, you know that they’ll drive the extra five minutes to get it. Making it available at DM is costing you $8-13 bucks per vibratogachi sold. And almost everyone will choose to buy it there, because it’s just easier to do so.

Sure, Vibrators R’ Us may offer you something in exchange for an Exclusivity deal just to be sure you don’t switch if offered a better job but at those numbers, you don’t NEED it. Your customers are still paying exactly the same price. It’s availability to pretty much exactly the same set of customers. You get somewhere between 17-36% more money for every vibrator you make. In exchange, your customers are minorly inconvenienced. After which, they get an amazing new crotch rocket.


The disconnect between developers and gamers around the Steam/Epic store split centers upon a basic mental disconnect: gamers don’t realize that Epic isn’t competing for their business. Epic is competing for Gearbox’ business.

Game developers and publishers work with partners all the time. It may be contract art for the game, or purchasing rights to a graphics engine, or help marketing the game, managing communities, performing user testing, or even printing CDs. Most of these choices are invisible to the player – so much so that if, say, we do a crappy job printing CDs, you’ll likely blame us rather than whoever we hired to do it for us. And that’s fine.

Before recently, there was really no choice for developers in terms of partners to sell and distribute your newly released PC game: you could either roll your own solution (as Blizzard did) or use Steam. Yeah, yeah, there are options like GOG and Humble Bundle, but these retailers specialize with selling older games (which is part of the reason Steam is willing to work with them).

Epic is trying to build a new store, one which offers developers a new option for selling their game that is more attractive to developers. But they have a big problem: steam is so much the ‘normal’ way to game on your PC that getting players to switch to the Epic Games store is really, really hard. Especially since you can’t really use consumer price to compete.

Gamers want Epic to compete with Steam, but Epic can’t until they build a customer base, and the only way to do that, really, is exclusive content. And the only way to do THAT is to make developers a deal they can’t refuse. Gamers looking at Epic ‘trying to build a monopoly’ have it backwards, actually. They are trying to break what is effectively an entrenched monopoly, and to do that they need to combat a decade plus of habit and inertia.

If Epic succeeds, then Steam will forced to get better. If that happens, everyone wins. Game developers will have better choices of where to sell their games. Gamers will have better tools for launching games and discovering new product. Price wars AFTER the initial launch window become likely.

But this only works if customers have compelling reasons to open a second launcher.

The Epic/Steam War is Here And Game Devs are All For It

It is possible to both think that Steam has been a remarkable and amazing part of the gaming ecosphere, and still be excited that they’re no longer getting a free ride.
I’m not kidding.  Steam is great.  It’s the first thing I install on any new computer I acquire. It’s intuitive at what it does, full featured, and run by a generally responsible organization.  It probably single-handedly saved PC gaming, definitely has been the engine that drives indie gaming for the last decade, and will be a pillar of the industry for years to come.

That being said, I’m super excited by the Epic Store as a developer, and I hope they get more exclusives.  I summarized my theories in this thread – this blogpost expands that thread.

Let’s back up.  This week, it was announced that Gearbox and their publisher would release the PC version of Borderlands 3 on the Epic Store as a six month exclusive.  This prompted the easily excited outrage monkey portion of the video games audience to lose their shit — I mean, really stupid shit.  So let’s break this down a bit.

The economics of the games industry are dumb.  AAA games have cost $60 bucks for a long time.  It’s a weird purgatory – the price hasn’t increased with inflation, largely because the beancounters think that if you go higher than $60, a game is more expensive that something that Grandma will want to buy little Timmy for Christmas.   On the flip side, and I swear this is true, gamers are so used to $60 price tags for games that they immediately suspect that any game with a lower price tag is automatically lower quality.  So AAA games have stuck at $60 as the default price for a while.

You ever wonder, when you spend $60 bucks for a AAA game, where it goes?  Here’s one breakdown.  If you buy the game at Best Buy, less than half of that ($27) goes to the developer/publisher. If the developer and the publisher aren’t the same entity, the developer gets a small portion of that – 20% maybe.  So call it $5 bucks, and the developer doesn’t see a cent until the development costs of the game are recouped.

Eagle eye observers will note that a lot of these costs just don’t APPLY to Steam.  Steam games (and all box PC games) don’t pay platform royalties.  They don’t have to print CDs.  The costs of handling unsold inventory are unnecessary.   So while Steam demands a slightly higher percentage (30%) than Best Buy (25%), the lack of other costs meant that Steam was a better deal for developers.  Put another way, Activision makes about $27 selling a Playstation Call of Duty at GameStop, and about $42 selling a PC CoD to you on Steam.  That’s… pretty awesome!  Developers vastly preferred it if you bought their games on Steam, because we like paying our mortgages. Yay Steam!

In late 2018, Steam improved that number dramatically for AAA developers (because screw indies, amirite?) so that once you sell more than $10M, their cut drops to 25%.  Sell more than $50M, their cut drops to 20%. Suddenly a megahit like Call of Duty is earning $48 per copy (once they sell a few hundred thousand copies).  Outstanding!  And you also get Steam features like Cloud Saving.

But then Epic upset the apple cart.

The Epic Store deal is really good. Epic is undercutting this deal significantly, taking only 12% of a cut. Suddenly, devs/publishers are splitting nearly $53 per box.  You don’t have to meet any kind of minimum threshold to get this.  This is really good.  REALLY good.  Yay Epic!

But it’s more than that.  Sales on the Epic Store also wave the licensing cost of the Unreal engine if that’s your engine of choice.  I believe that Borderlands 3 is using the Unreal engine. If that’s the case, that’s another 5% in their pocket that they don’t lose if you buy on steam.  Put another way, Take 2/Gearbox puts $52.80 cents in their pocket for every copy they sell on the Epic Store, and only $39-$45 for every copy you buy on Steam. 

According to Steamspy, Borderlands 2 sold 5-10 million copies on Steam.  Now then, not all of those copies were actually sold on Steam and certainly some of those copies were sold at discount prices during Steam Sales and the like.  Still let’s do some back of the envelope math here and pretend that B3 ‘fails’ by only reaching the lowest number there (5 million)

  • If 5M people bought the game on Steam, Gearbox/2K would enjoy a royalty rate of 30-20%, and they’d have to pay a 5% engine licensing fee to Epic anyway.  They’d get $222 Million, or $44.4 bucks per copy
  • If 5M people bought the game on Epic, no engine licensing fees, and a 12% cut, gets them $264 Million, or $52.8 bucks per copy.  

So in the worst case scenario, Borderlands stands to make $42 Million more dollars for 2k/Gearbox.  That’s a LOT of enchiladas.  I don’t know if Epic paid Gearbox/2K for the right to exclusively launch on the Epic store but they didn’t really NEED to – If Epic launched on both, they’d lose about 9 bucks per copy of Borderlands 3 sold on Steam.

The very nature of the Steam Revenue split encourages exclusives. Look at the revenue split for AAA again.  You only get the GOOD revenue split if you hit $50M in revenue.  My back of the napkin math means that you need to sell 834K copies before you start getting that number — on all copies AFTER that.  What this means is that, if you’re on Steam, every copy you sell on Epic Games or Discord or whatever is a copy that’s not pushing you to that threshold.  

The guys who came up with it probably thought they were encouraging developers to choose between one platform or the other.  They were probably right.  They’re probably just surprised as to which direction developers (especially those around the Metro-Borderlands size) are going to decide is the logical direction to go.

Exclusives are how platforms are sold. People keep saying ‘Epic should compete on its own merits, and not have to depend on exclusive content’ but, um, exclusive content has always sold new platforms – and that’s definitely what this is.  It’s a cornerstone of console gaming, for example, with great exclusives like God of War, Horizon Dawn and Spiderman being a cornerstone of why Playstation is kicking XBox’s butt this generation.  Console developers do this by buying studios entirely usually. But yeah, paying for the privilege of exclusive content is NORMAL.

And unlike exclusives for PC, there is a $400 price tag on the console if you want to play Horizon on top of the cost of the disc.

It’s not just games.  Exclusive content is the cornerstone of the business model of HBO and Netflix for example.  And let’s face it, Steam has thousands of de facto exclusive games, because that’s the only place those games can be played. 

In the absence of exclusive content, players will typically choose the platform that has the most inertia.  And to repeat, every copy of Borderlands 3 that is sold on Steam costs Gearbox/2K about 9 dollars.

Gamers should want more of the money they DO spend to go to game developers and publishers.  Games are expensive to make, and they get more expensive every year, as salaries rise, technical complexity increases and the costs of making content go up.  And yet, the box price of games has stayed constant. 

If more of this box price goes to the people who design, art, engineer and market these games, it reduces the need for us to have to resort to sell sparkle ponies and loot boxes or to increase the costs of the games in order to cover those increased costs. 

 People who think that the Epic Store means significantly fewer sales than Steam are probably deluding themselves.  First off, Borderlands is a huge, well-respected and beloved IP.  People will seek it out.  Selling your small, funky indie title on the Epic Storefront may not be a great idea because the store doesn’t yet have a critical mass – it’s not a place people go to shop for games yet.  But if you have a big, well-anticipated game like Borderlands (Borderlands 2 is still in the top 10 for daily plays on Steam), players will go and seek it out.  Being a seperate launcher didn’t hurt Starcraft, or Destiny, or the Sims.  Players will find Borderlands 3, wherever it lives.

And where it lives is pretty good.  Epic has the ability to drop an ad for Borderlands 3 in front of 250 Million Fortnite players with over 78 Million Monthly Active Users.  This is actually greater than Steam’s 67 MAU, although Steam still has a higher daily concurrency and everyone who opens steam is coming to shop, not play Fortnite.  Still, the people who think Devs selling on the Epic store think it will have a much smaller reach are probably in for a disappointment.

But still, the proof is in the pudding. And we have one test case so far, where Epic’s first exclusive (Metro Exodus) did 2.5 better on the Epic store than its predecessor did on Steam. And to some extent, you have to wonder if the relative sparseness of the Epic Store is helping.  Epic’s store is currently a highly curated experience of high quality titles.  In Steam, Metro was competing against dozens of similar titles, some years old.

Yes, this is capitalism — and the audiences are what’s being sold.  A lot of gamers are saying things like Epic is trying to be ‘monopolistic’ or that this isn’t capitalistic.  That’s because they’re mistaken about which customers are what are being fought over here.  

This is an EXTREMELY capitalistic, EXTREMELY competitive dance happening. But the customers being courted are developers/publishers like Gearbox/2K and 4A Games. What is being sold is the playerbases. YOU’RE the product.

Steam’s sales pitch is a 30%-20% revenue split, with the strongest PC customer base in the world and a robust, full featured back end and well-integrated payment systems that work with almost any payment system on planet earth.

Epic’s sales pitch is a 12% revenue split, with an audience that is as large (but unproven spenders), a free engine license and a much more curated store. And did I mention just a 12% revenue split? Did I mention that Borderlands is looking at somewhere around 40 MILLION DOLLARS in additional revenue that goes to game creators and publishers instead of the store?

Valve could end this quickly if they REALLY wanted to.  Their install base is hugely attractive.  If their revenue split were suddenly match Epic’s – or even get close – choosing Epic would be a very hard choice.  But doing so would mean losing a HUGE amount of revenue.  Valve is, I believe, taking a ‘wait and see’ approach to see if Epic congeals into a serious threat to their bottom line.

Anyway, if Red Dead Redemption also goes the Epic route, things are going to get heated very quickly.

I don’t want Epic to ‘win’ this war.  That would be just as bad as Steam keeping a monopoly on the marketplace.  I don’t want any one store to have a monopoly everything.  I want competition.  I want these guys competing for games to publish.  I want these guys to compete for customer eyeballs. 

Competition is GOOD. I’m happy that we may end up in a situation where there are two stores competing to make lives easier for game devs. I’m happy that Steam will be forced to clean up it’s act, and that Epic is hungry to offer innovations. And I’m disappointed that gamers are pissed off about it, and that some observers are milking this outrage for clicks and views.

Politics in Nerd Media Part II: Representation Matters

So what we’ve talked about so far is Representational Politics, which is basically the cornerstone of the War on Diversity or the Scourge of Political Correctness.  Of the avenues of political expression in games that are possible, this is the only one that has really changed or increased, as more game developers pursue more diverse models.  The fact that games are clearly evolving on this front is what prompts the Outrage Junkies to claim that, for example, having a woman in a warzone is shoving politics ‘in your face’.

I’d be lying if I said the motives of game makers were purely about inclusion and social justice. This may drive some individual game makers, but the big corps are all about making money.  The bet is that, for example, making the main Jedi in the new trilogy a woman will add more female fans, and is unlikely to cost many core fans.  In most cases, this bet is correct.

One undercurrent that may be lost on gamers is the importance of emerging marketplaces.  Ever wonder why so many action movies (Transformers, Pacific Rim, Avengers 2) nowadays seem to take a detour into Asia?  That’s because Asia is a dominant movie market nowadays, and the Chinese like seeing Shanghai in film just as much as Americans like to watch the Hollywood sign get incinerated by aliens.  This representation means that the film just RESONATES with these audiences more, and that resonance turns into greater fervor and bigger sales.

And that resonance is what the Outrage Junkies don’t understand.  If you are a straight white male, nearly all American geek culture has that level of resonance to you.  You may not know what it’s like for people who represent you to be rare.  A movie like Black Panther, where your kind is the outsider, is the exception and not the rule.  You don’t know what it’s like to cling to even imperfect representation because you crave validation of your identity. Examples of this abound on the Internet, but my favorite still remains this writeup of an amputee describing the sheer joy that was her witnessing Furiosa kick ass in Fury Road.

That sense of validation is what all this has to do with politics.  When you create a world where minorities are equal in power, where women kick ass, where gender fluid options are represented as no big deal – you create a vision of the world that maximizes the odds that any single individual will feel empowered by your game.
You also create a vision of the world that may be very different than the one that exists today.  And that’s a political statement.

My favorite example is still Far Cry 3.  In this game, the only women were your nagging girlfriend, the exotic sex priestess and…. well, that’s about it.  Oh, the guys you crept up to kill would often talk about the whores that gave them the clap.  All these things add up to a very firm idea of what role women have in this society.  Which is gritty and hardcore – and also somewhat alienating to roughly 50% of the human race.

Far Cry 4 improved on this somewhat, most notably by adding women to the revolutionary groups who fought by your side when you retook outposts.  Far Cry 5 improved it farther by having random women enemies in the NPC enemies you fought.  This is very different than ‘one of the main characters is female’. It made Far Cry’s Montana a world where a woman who kicks ass isn’t an exception, but part of the core rules of how this world works.

Does this mean that game makers can’t or shouldn’t make games where women are rare, where blacks are all slaves, or where gay people don’t exist?  It’s a free country, and free speech means you should be able to make whatever game you want to make.  But game creators need to be aware that how they represent various minorities in their game world SAYS SOMETHING.  Do you want your game to say ‘this game is not for you’?

Politics in Nerd Media Part I: The ‘Politics’ of People Who Don’t Look Like You

So yesterday, I tweeted a throwaway tweet.  It… got some attention.  Let’s break this down.

For a long time, there has been a contingent of people demanding that we ‘get politics out of games’.  This was a cornerstone of GamerGate, of course, but these diseased outrage junkies have attacked creators in almost every genre of popular culture you can think of.  Right now, the pathetic manbabies that populate the ranks of Comicsgate gets the most attention, but they’ve also attacked movie directors and studios, television creators, and in gameing, communities around Dungeons & Dragons, Magic the Gathering and Board Games in general have had to deal with this simpering fuckwaditude.

The outrage junkies are peddling falsehoods, of course.  Politics have been inherent in all of these media since their early inception.  The first megahit movie was basically a Klan recruitment video.  The first issue of Captain America had him punching Hitler in the face, and his best runs have been about the line between patriotism and nationalism.  Radio’s finest moment may have been when the Superman radio serial humiliated the Klan.  I could go on.

But then again, the same people who rant about ‘politics infecting my media’ aren’t mad about V for Vendetta being an ode to anarchy.  They somehow manage to love both the Winter Soldier and the Dark Knight despite the fact that the two movies give pretty much opposing views to the concept of citizen surveillance.  They have no problem with the fact that most realistic shooters have a political message being ‘the only solution here is to kill brown people’, or the fact that winning a game of many flavors of Civ often requires you to embrace ecological responsibility.

What bothers them – the thing that gets them riled up – are putting a woman in the battlefield in World War 2.  Having the two leads of the new Star Wars films not be white.  Making Thor a woman.  Giving Iceman a gay kiss.  Making Heimdall black.  Having a female Doctor Who.

They’ll criticize these as decisions driven by ‘politics’.  They aren’t, really – in most cases, they are decisions driven by a desire of media creators to leverage diversity to reinvent their brands and expand their markets.  But the results ARE political, and by attacking these as bad politics, the outrage junkies are making it clear which politics they prefer – one that leads to a world where straight, white males are the only significant movers and shakers.

Gee, what political movement does THAT sound like?

#1: Magic: the Gathering

Designers: Richard Garfield, Mark Rosewater, Many Others

In Magic, you are a mighty mage (called a ‘planeswalker’) who is locked in battle with another mage. You place land, activate (‘tap’) that land to gain mana, and use that mana to summon an army of creatures, or cast powerful spells in an attempt to defeat your opponent. If you do 20 points of damage to him or her, you win.

Magic:the Gathering is an easy number one game for me. It was already a brilliant, if rough, game when it was released in 1993, and since then has been constantly tuned and refined, and is now a finely honed machine. Each color has strong, unique mechanics. Multiple play styles are strongly encouraged. They release a new set of cards roughly every three months, which continue to evolve and reinvent each color, and to some extent, the game itself. Which is to say, the decks you are playing now – based on their delightful recent release, Ixalan, which is based on vampire conquistadors invading a lost world of dinosaurs and aztec-inspired mermen – will bear little relation to the decks you want a year from now.

It’s worth noting to would-be designers that Mark Rosewater’s Making Magic is probably game design’s longest running and best active game design blog.

The down side to Magic is, of course the price tag. If you want to play competitively, it’s going to cost you a pretty penny to have a top end deck. That price tag will only go up if you decide to play older formats such as Legacy that allow use of the full back catalog of cards that time has otherwise forgot. However, less spendy players can have quite a bit of fun with just some duel decks at their kitchen table, or build a decent collection just doing drafts.

Key Mechanic: The Stack. Magic has had so many good mechanics over the years that I literally could list a dozen I love (note to Mark Rosewater, ‘Evolve’ really needs to make a comeback). However, if I could choose one, I’d have to choose the one that makes Magic cast-and-respond work at all, which is the stack. The gist of it is that spells cast at instant-speed are resolved in last-in, first-out order.

The classic example is that if you cast a Lightning Strike, dealing 3 damage to my 1/1 creature (the second number is his toughness), I can cast my Giant Strength on that creature, giving him +3/+3 in response. These would resolve in reverse order – my Giant Growth lands, followed by the lightning strike, which would mean my 4/4 creature only takes 3 points of damage – enough to survive! However, if those spells were reversed, his lightning bolt would kill my creature before my giant growth had a chance to take effect.

It seems complex, but is actually shockingly simple and elegant, and is the cornerstone of reactive play in Magic: the Gathering, which makes it a highly interactive experience. And it’s an example of the great design thinking that has made Magic: the Gathering my #1 Game Of All Time, Or At Least For Right Now.

#2: Clank!

Designer: Paul Dennen

My easy winner for best new-to-me game of the year, this game first hit the table in late 2017 and instantly became a mainstay of the group. Clank! is a basic deckbuilder but with a board game attached. You are a thief trying to creep into a dungeon, grab more treasure than everyone else and try to get out. The cards you play determine how far you move, what you can fight, and how much dragon attention you draw (see below).

Clank’s only flaw is that the game can effectively be short-circuited by a player grabbing the closest treasure and just heading out. Other than that, it’s a silly but deep experience that generates a lot of excitement around the table, especially as the game ends. I’m very excited to try the recent expansion pack (Clank! Sunken Adventures), and the followup (Clank! in! Space!)

Interesting Mechanic: Clank (the mechanic). When players play cards, some of them may have ‘clank’ as an attribute. If so, you end up putting your health cubes aside. Other events may cause the dragon to attack. When this happens, you put all of those cubes in a bag (with any cubes from previous attack events), and draw out a number based on how angry the dragon is. If your cube is drawn, you take a point of damage. Take too many, and you die.

The ‘Clank’ mechanic adds a real push-your-luck factor to the game, which adds real excitement and variance to the experience, especially near the end of the game. I’ve now had multiple games where everyone manages to escape the dungeon, and a couple games where literally everyone died, once with 3 people dying one room from the exit.

Other Favorite Thing: Mister Whiskers. You’ll know why when you see him.

Image result for clank a deck building adventure

(Photo Credit: Here)

#3: Pandemic Legacy: Season 1

Designers: Rob Daviau, Matt Leacock

The players are all a crack response team, responding to a worldwide epidemic. Based on the original Pandemic ruleset, Pandemic Legacy is a legacy game, meaning that your failures leave a lasting mark in the world. There is one scenario per month of the year, and by the time December rolls around, it’s very likely whole continents are smoking rubble as a testament to your failure.

Here’s how awesome Pandemic Legacy is:  It is not uncommon for players, at the end of a season, to frame the game board.

Pandemic Legacy also has serious narrative moments in the game. At key events in the game, players add new rules to the game, and open new boxes of entirely new characters, disease vectors and other game components. By the end, you’re playing an entirely different game.

 Interesting Mechanic: Destroy This Card. When some guys say ‘destroy a card’ they mean ‘throw it into the discard pile’ or some other namby pamby bullshit. In Pandemic Legacy, you actually pick up the card and rip it in half. The first one of these happens in month one of Pandemic Legacy, and it immediately communicates to players the permanence of their decisions.

The original Pandemic is a classic, but I’d played it so many times that I felt I was pretty much done with the game. Pandemic: Legacy takes the classic game formula and completely revitalizes it. I can’t wait to try Season 2.

Image result for pandemic legacy season 1 red

(Photo Credit: Cool Stuff Inc)

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