This Thursday (4/9), eighteen authors (including yours truly!) will be doing live readings to celebrate International Unicorn Day!!! At 10:30am ET, I'll be on Facebook Live on my author page here: https://www.facebook.com/sarahbethdurst

And I may be wearing a unicorn onesie... 

Eeeeeeep!!! A STARRED REVIEW from Booklist for CATALYST, my next kids book, out 6/9! Thanks for brightening my day, Booklist!

https://www.booklistonline.com/Catalyst-Sarah-Beth-Durst/pid=9729210

Cover reveal!!! So excited to be part of this Star Wars anthology!

STAR WARS: THE CLONE WARS -- STORIES OF LIGHT AND DARK comes out on August 25th and features eleven stories retelling the best episodes from The Clone Wars, each story told by a different author and each focused on a different character.  My character is the awesome Ahsoka Tano, and I wrote her story from the point-of-view of Jedi youngling Katooni.

Loved writing this so much!  Also loved the excuse to rewatch the series!

http://www.theforce.net/v3-story/frontFirst_Look_At_Star_Wars_The_Clone_Wars_%E2%80%93_Stories_Of_Light_and_Dark_186760.asp

Today is the book birthday for my new epic fantasy novel for adults, RACE THE SANDS!!! My 20th book!!! It's about two kickass women vying to become monster racing champions. I loved writing this book, and I hope it will provide an escape to everyone who needs one. 

Woohoo!!! SPARK made the Florida Sunshine State Young Readers Award 2020-21 list! Thanks so much, Florida librarians! You have absolutely made my day!

https://www.floridamediaed.org/ssyra.html 

Tomorrow (Friday 5/8) I'll be taking over the HarperCollins Library Love Fest Instagram to show you my writing space, with a video tour at 11am EDT. Come visit my writing room, meet my cat, and see where I create my monsters and the women who ride them! https://www.instagram.com/harperlibrary

TODAY!!! Come visit me on the HarperCollins Library Love Fest Instagram today (Fri 5/8)! I'm taking over their Instagram account all day to show you pictures and videos of my writing space! Just posted the video tour! 

https://www.instagram.com/harperlibrary

八神蓮 11月15日（水）の公開生放送に出演 公開生放送は12:00〜13：00!! 番組で聞いてほしいことをコメントにて受付けております!! 詳しくは番組Twitterとブログをチェック！観覧は無料！みなさんのご来場をお待ちしています〜※観覧者多数の場合は並んで頂き、入れかえ制とさせて頂きます。※混みあった場合は、譲り合ってご観覧ください続きをみる

『著作権保護のため、記事の一部のみ表示されております。』

原作：生江有二『竜二―映画に賭けた33歳の生涯』（幻冬舎アウトロー文庫）脚本・演出：森岡利行キャスト：八神 蓮上杉 輝（TOKYO流星群）　松島庄汰　高岡保成　伴 優香黒木千春(A)　宮崎 京(B)　鎌田彩樺(A)　白石彩妃(B)　野村奈央　山本佳志　美月まりも　お宮の松(A)　酒井健太郎(B)　重松隆志 A：仲谷 憲　佐藤俊彦　梶野春菜　坂本朝美　青山 隼B：石川竜太郎　平川慎之介　永島美穂　田嶋高志　佐藤 翔 ★八神蓮専用チケットフォームPC用【https://ticket.corich.jp/apply/94367/003/】携帯用【http://ticket.corich.jp/apply/94367/003/】 〇チケット発売一般　【A席】前売：5,500円／当続きをみる

『著作権保護のため、記事の一部のみ表示されております。』

My father, John A. Sawyer, Ph.D., passed away at the age of 94 on Monday, December 17, 2018, at his retirement residence in North York, Ontario, Canada. The following death notice / obituary appeared in The Globe and Mail and The Toronto Star:Sawyer, John A. (Jack) Died December 17, 2018 Professor Emeritus (Economics), University of […]

On Saturday, January 26, 2019, I had the privilege of giving this year’s Paul Sykes Memorial Lecture to the Vancouver Centre of the Royal Astronomical Society of Canada. My topic was “Astronomy and Science Fiction” and during the talk I mentioned the following SF novels (listed in italics) and short stories (listed in quotation marks):H.G. […]

Robyn Meta Herrington, active member of both SFWA and SF Canada, passed away fifteen years ago today, on Monday morning, May 3, 2004, in Calgary, Alberta, after a courageous multi-year battle with cancer. Robyn’s short fiction appeared in such places as On Spec, Talebones, Adventures of Sword and Sorcery, Parsec, and in Mike Resnick‘s DAW […]

Many years ago, I attended a talk by Cynthia Good, publisher of Penguin Canada. When asked what was the first thing she looks for in a book submission, she said, “A way to get the author on TV.” I’ve now got over 400 TV appearances to my credit, and an equal number of radio interviews […]

You may recall that some time ago I had felt out of shape and was unhappy with it. After hitting a high weight of nearly 200 pounds, and also feeling tired walking up stairs, I set a goal of getting down to 170 pounds. With regular exercise and calorie counting, I hit that goal last […]

My week has been stressful. They called Thursday and offered me the half-time job. They needed to know that day -- we haven't heard back on the lucrative job James has applied for, so I declined, citing the fact that I'm the only breadwinner and James hasn't heard back about the job he was waiting to hear from (I didn't mention to the HR person that it's a job at my same employer, because it's probably not her fault they're lagging on his job, and I'm not an asshole). She wanted to know when I'd know, and I said, "Well, I was supposed to know two weeks ago, so I mean, soon, I hope, but no guarantees."

She called me back an hour later and offered to give me a week to decide (because they actually don't want the other two people who interviewed, is my surmise), so yeah, rollercoaster day on Thursday.

And then a student's mom called and cussed me out for like half an hour. I don't take that stuff personally, but it does wear on me. My co-workers marvelled over and over about how calm I stayed, and I said (and I meant it), "She was frustrated. That's understandable. And I don't have to attend every fight I'm invited to," which became a theme for the week.

My mom got in a fracas with another member of her senior center, and I shared my week's theme with her. I think she felt a little chastised, but she also seemed to latch onto the theme as a potential sanity saver.

And then today at the donut shop, I accidentally passed up another person who was waiting to pay (because I followed the person who gave me our donuts to the register and didn't notice the other person who was standing away from the registers at the window. She berated me for many minutes about how rude I was, and how I should give a bitch some space, and how in America, we call this White Privilege, and and and... I just apologized, didn't engage beyond that, (felt frankly detached and mildly amused -- not sure what that says about me) and then once she'd left, the cashier apologized to me for the customer.

Me: "Nah, she's not wrong. I didn't see her, but I did cut in front of her."

I mean, I don't like being yelled at, or having people behave in ways that I perceive as rude towards me, but I'm not gonna fault someone for standing up for their space when I've violated it, so long as they're not hitting me or something. Not a fight I need to get into; not a hill I'm gonna die on.

So yeah, stressful week for many reasons, but not something that's gonna ruin my Saturday, which will now be completed by spending many many many hours writing and catching up on webcomics.

And how are YOU, dear ones?

comments

I want to write this, but I don't want anyone to feel compelled to read it, so here, have some cut tags!

( Work stress )

I just closed a half-dozen tabs that were old posts from y'all that I keep meaning to respond to. Apologies, but I have limited oomph this week, as a lot of us do.

But hey, surveys are easy.

Quarantine meme (quaranteme? quaranmeme?) picked up from julian who got it from crystalpyramid.


( My answers )

On May 4th and 5th, mom and I planted a bunch of stuff in a square-foot-gardening box, and I'm going to start keeping a plant diary here. I'll put them under boredom cut tags. :-)

( Like this )

Calling all rebels -- only you can help StarWars.com and The Star Wars Show win!

Bring the galaxy home on May the 4th.

Six young Jedi face their fears and themselves in an ancient rite of passage.

The voice of Ahsoka Tano tells StarWars.com about writing the new Little Golden Book and rewatching Star Wars: The Clone Wars for inspiration.

Starting on Star Wars Day, for one week you can enjoy artistic renditions of your favorite films and series.

Co-founder and designer Erik Haldi discusses the company's first Star Wars enamel pin: Luke Skywalker on his tauntaun.

May the 4th be with you with these special sales and discounts on items from around the galaxy.

Watch the debut of Disney Gallery: The Mandalorian, the finale of Star Wars: The Clone Wars, and more!

The actor behind Luke Skywalker takes StarWars.com on a journey through filming the Star Wars sequel in time for the 40th anniversary of its release.

Plus, get a first look at the game’s key art -- revealed in celebration of Star Wars Day!

The award-winning title from ILMxLAB heads to PlayStation VR this summer.

To celebrate Star Wars Day, employees from Lucasfilm and ILM reflect on what made them fans and what keeps them enthralled with the galaxy far, far away.

Celebrate May the 4th with Death Star-sized deals on some the biggest Star Wars games.

Emmy Nominee Leslye Headland to write, produce, and serve as showrunner for new untitled Star Wars series for Disney+.

In the chilling series finale, Ahsoka and Rex try to survive Order 66 and plot one final escape.

Three years ago Japanime released an English version of Dynamite Nurse (originally published in 2011) via Kickstarter. Although we added this take-that deck building game to our collection earlier this year, it took a bit of time to find some friends from our various gaming circles willing to play the game given the boundary pushing artwork. The character illustrations are in the style of anime - colorful and detailed - but bordering on pornographic.

In making a case for the game's merits, I pointed out that Dynamite Nurse is centered on strong female characters (sure, the nurses are barely clothed and poses provocatively but they’re the main focus of the game and hold all the power). Also, the game has an interesting storyline. In Dynamite Nurse, players take on the role of nurses competing to save patients who have been severely wounded while out exploring dungeons. Fun fact: in an odd parenthetical note, the rulebook states the characters are actually doctors that are simply referred to as nurses in the fantasy realm of the game.

Components for Dynamite Nurse include 214 double sided glossy cards, 30 cardboard tokens, and a 34 page rulebook. You’ll definitely want to sleeve the cards for frequent use.

Gameplay is straightforward and easy to learn. In the first phase of each player’s turn, they do the following:

(1) play cards from their hand

(2) decide between treating patients in their hospital or purchasing a new card to add to their discard pile

These two main actions can be done in any order. If a player elects to treat patients, the treatment points on cards in their hand are used to conduct surgery (to fully heal a patient and add them to their victory point pile) or treat with care (to bring a critical care patient about to die to stronger health, while still leaving them in their hospital for further treatment). If electing to buy a card, a player is limited to purchasing a single card from the purchase decks, as is common in a traditional deck builder.

In the next phase of a player’s turn, they draw a patient from the Dungeon Deck and lay them out in the back of the ambulance, ready to be moved to a waiting hospital. When a patient is admitted to the ambulance, they are tagged with the hospital marker of one of the players, signifying they are under the care of that nurse. If there is no room in the ambulance for the patient (the ambulance can hold a number of patients equal to the number of players in the game), instead of drawing a patient from the Dungeon Deck, the patient in the front of the ambulance is flipped over, entering critical condition. This is bad for the player whose hospital tag is on that patient as the patient may eventually die and accrue Kill Mark Cards (also known as penalty points) for the associated player.

To wrap up a player’s turn, they complete hospital admissions (optional) and check for patients in critical condition in their hospital. If a player decides to admit patient(s), they move one or more patients tagged with their hospital token with from the ambulance to their hospital. Admissions must be carefully balanced as a hospital only has 2 beds. If there are more patients than beds available, the player must select a number of patients equal to the bed shortage and put them in critical condition. Patients in critical condition are at risk for death if bed shortages continue over subsequent turns.

The title of Dynamite Nurse is held by the player with the most dead patients. It’s initially acquired by the first player to have a patient die. It’s a traveling status, in that, it will immediately shift to any player whose dead patient count exceeds the player who previously held the title. The designation provides some strategic advantages during the game (perhaps as a catch up mechanism) but earns -2 victory points at the end of the game for the player still holding the title.

The game ends when either the Dungeon Deck or the Kill Mark Card deck runs out. A player wins by amassing the highest victory point total. Victory point formula: healed Patient Card VP total – Kill Mark Card penalty point total. 

Dynamite Nurse is subject to a bit of analysis paralysis, but it’s very limited because the pressing tasks required to keep from losing (treating sick patients) clearly take priority.

I really enjoyed the gameplay here. It was competitive without being too complicated, which is just how I like my card games to be (card games always have a bit more of a casual feel to me and I turn to them when I want a relaxing game). We had a lot of laughter during our games and the take-that actions didn’t upset anyone too much as they were pretty evenly distributed among all players. I love almost everything about Dynamite Nurse. That being said, I’m disappointed Japanime doesn’t publish a family-friendly version of the game so that I can play with a wider audience. I’m not naïve; I understand that racy artwork adds to the appeal for a certain demographic but the sexualization of the characters in Dynamite Nurse isn’t subtle – it’s right in your face on every card and a major turn off for players who are more conservative, have strong feelings about portraying women as sexual objects, or those who want to play the game with the under 18 crowd. There is no way we could play this with our kids and it’s only because of the artwork. During one of our games, we spent four minutes debating what the inanimate object was between one of the nurse’s legs pressed up against her panties (cell phone was the consensus but one of my friends insisted it was a cheese grater). Another minor complaint - we found the included rulebook to be a bit confusing. Multiple times we had questions that the rulebook did not seem to provide a clear answer on and so our group had to come to a agreement on a house rule. For example, under Transport, the rulebook notes to draw a Patient Card from the top of the dungeon and place it in the ambulance in “the furthest location from the dungeon”. As the dungeon is left of the ambulance, this would mean placing the card to the right of any existing patients in the ambulance like so:

D   P1  P2 P3 NewPatientHere

However the drawing two pages later in the rulebook meant to illustrate how to transport shows the new patient being added to the ambulance in the the location closest to the dungeon like so:

D NewPatientHere P3 P2 P1

Aside from the rulebook confusion and the risqué illustrations, Dynamite Nurse is a compelling game that can be played in under an hour.  I’m giving it a OUI rating (take note Japanime – the rating will climb to a OUI OUI should a family friendly version be released).

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Publisher: Japanime Games
Players: 3-5
Actual Playing Time (vs the guideline on the box): About an hour
Game type: deck building, take-that
Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

My favorite board game as a child in the early 1980s was Clue. Put the clues together, use your deduction skills, and solve the mystery before anyone else. Aha, now you’ve got it! Aren’t you the smart one! Board games have come a long way since then, with increasing complexity in structure and mechanics; deduction games are no exception. If you liked Clue as a child, you’ll probably love Cryptid.

Released by Osprey Games, Cryptid is a deduction game designed by Hal Duncan and Ruth Veevers. Players take on the role of cryptozoologists searching for an unidentified cryptid (an animal that people claim exists, but which has yet to be verified) in North America.

The geographic search area in Cryptid is comprised of six modular board tiles, which are arranged in rows of two tiles each stacked to form a 2x3 grid, which looks like this:

Because the boards can be rotated and moved around, this results in around 46,000 different board set-ups. There are five terrain types possible for each hexagonal space: water (blue), mountain (gray), forest (green), swamp (purple), or desert (yellow). These colored spaces are clustered and liberally distributed all over the board. The geography also includes cougar territory (outlined with red) and bear territory (outlined with a dashed black line). Finally, there are structures placed within the territory- standing stones and abandoned shacks - which can be blue, white, green, or black. A deck of cards is provided to guide players in arranging the boards and selecting clues to be used in the game. Each time Cryptid is played, a new card is selected from the deck. One side of the card has a picture depicting how the boards should be arranged and the other side has, based on player count (3, 4, or 5), an assigned clue from the player clue books given the arrangement.

Players can also use the Cryptid app to generate the maps and clue assignments. Using the deck of cards or the app, the game designers have carefully assigned each player only one piece of information from a set of 24 clues, such as “The habitat is within one space of forest” (this is for the normal game; the advanced game allows negative information such as “The habitat is not within one space of forest.”, which pushes the set of clues to 48). These pieces of information, when coupled with the constructed game board, result in only one possible space for the cryptid to be located, out of 108 spaces. The seemingly innumerable variations and possible combinations are truly dizzying. Cryptid is a game that would be difficult to create and implement outside of the modern computing age - I’m certain the designers used an algorithm to generate all the possible combinations.

At the start of the game, each player chooses a space on the board where, according to their clue, the Cryptid could not be located, and places a cube on that space. This action is repeated one more time, so that every player has 2 cubes on the board before the game begins. Over the course of the game, players take turns selecting a space on the map and then either (1) asking another player whether, according to that player’s clue, the Cryptid could be located there, or (2) initiating a search to indicate they think the Cryptid is likely there. If asking another player, the player who is to answer does so by placing a cube in the space (if it can’t be there) or by placing a circle in the space (if it could). If the player answers with a cube, then the asking player must also place a cube somewhere on the map to share information with others. If a search has been initiated, the player places a circle in the space and then the player to the left of the player whose turn it is places either a cube or circle in the space to indicate the possibility of the Cryptid’s presence. If a cube is placed, the searching player must place a cube on the board as when they are asking, and the turn ends. If a circle is placed, the next player in line, going clockwise, places either a cube or circle, and so on. If all players place a circle on the space, the searching player has found the Cryptid and won the game. Otherwise, play continues with the next player’s turn.

The components in Cryptid are well constructed. The modular boards are sturdy cardboard and the wooden pieces (five colors for each of the possible players, and pieces for the standing stones and abandoned shacks in four colors) are high quality. The artwork is functional, and I would have liked to see more detail put into the shacks and stones, but because this game is one-step away from an abstract deduction game, the artwork isn’t the focus. The real focus is on the critical thinking aspect of the game, which is where it really shines. Every single time I played this game over the past six months, I watched my opponents, both on their turns and between their turns, quietly furrowing their brows and cycling between examining the board and examining the set of possible clues, as they frantically tried to deduce which clue belonged to which player, based on the cubes and circles presently laid out on the board. That’s because once you have discerned what each player’s clue is, you just need to find the one spot on the map that satisfies all of them, and you’ve won the game.

A big debate around our gaming table was whether to allow players to take notes during the game. My husband drew a big advantage over others during a game in which we house ruled that notes were ok. That isn’t surprising since he has a PhD in statistics. Once you reduce Cryptid to a math problem on paper, the more adept mathematicians will likely pull into the lead. After that, I came out strongly against note taking and remain in the no notes camp still today. Of course, your experiences and preferences may vary. If you’ve a whole crowd of math gurus, having a “math off” might be fun for you.

Cryptid is subject to a significant amount of analysis paralysis. It never seemed to bother any of the players around our table though, because while the active player is deep in analytical though, so are the rest of the players. It isn’t as though you spend the time between your turns twiddling your thumbs growing impatient. In fact, it’s nice to have the time to work out what your next move is going to be while the other players are taking their turns.

Cryptid is not my favorite board game. My top picks in the category all provide rich theming, a deep narrative, and detailed artwork. That’s just my personal bias toward those types of games. But Cryptid is my favorite abstract game. I can’t think of a single abstract game that outshines Cryptid. It’s worthy of a spot in any serious gamer’s collection.

-------------------------------------------------

Publisher: Osprey Games
Players: 3-5
Actual Playing Time (vs the guideline on the box): 60 minutes
Game type:  deduction

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me

That second slice of cheesecake when the Cheesecake factory was running their $0.88 a slice promo. The late night boardgame marathon when I had to work early the next morning. Hosting a dinner party every night for 12 days during the 12 days of Christmas. I fell in love with the idea of all these things, but once I experienced them, I realized they were mismatched to my temperament. They were so enticing, and they whispered to me with promises of fun, but I couldn’t love them the way I wanted to. That’s what Shadows in Kyoto did to me too. I picked up a copy of the game based solely on the artwork. It’s beautiful, as we have come to expect from Maisherly Chan. I should have known what I was getting into because we already own other games that lean heavily toward the abstract - such as Hanamikoji (another game for which Maisherly provided artwork; see my review for it here: https://boardgamegeek.com/thread/1718238/what-jenni-said-about-hanamikoji) - and I have never come to love those games the way I do others in my collection. Perhaps it is because my frustration tolerance is pretty low for repeatedly losing game after game and that’s what happens with these 2-player abstract games in my collection. I play them against my husband (who holds a PhD in statistics) and I bend and twist and strain my brain to outwit him and it doesn’t work. I just end up with a headache and feelings of self-loathing. That’s exactly what happened every time we played Shadows in Kyoto.

The game puts players in the roles of Spy vs Spy in a battle between Oniwaban agents (backed by the Japanese Shogunate or military government) and ones employed by the new government that replaced the Shogunate. It’s a great theme that wraps around the strategic gameplay well. In our household there was much speculation as to whether the designers started with the historic theme and designed a game that fit it or created a theme around an abstract game they designed first.

The components are well made and include a sturdy center board, high quality thick cards, and wooden pawns.

The gameplay for Shadows in Kyoto is deceptively straightforward. Each player places their six pawns on the six starting locations on their side of the board as they see fit, with the markings for which ones are carrying real intelligence and which ones are carrying fake intelligence facing the player, so that the opposing player cannot see the markings. To win, a player must complete one of the following objectives:

• trick the opponent into capturing three of the player’s agents carrying fake intelligence
• capture both of the agents carrying real intelligence from the opponent
• get one of their agents carrying real intelligence to the back row of the opponent

Movement is controlled, in part, by playing location cards, which allows players to move to the designated type of space, following the movement rules (move only forward, move only 1 space at a time, cannot move into a space already occupied by your own agent). Instead of playing a location card, players can also play tactic cards that trigger movement. For example, the tunnel card allows a player to move any 1 of their agents horizontally to any other space on the same row, stopped only by an encounter with another pawn.

Encounters between pawns (when a pawn of one player moves into the space of the opposing player, “attacking” it) are resolved by revealing the markings on the back of the defender’s pawn and then comparing it to the markings on the back of the attacker’s pawn (which remains visible only to the attacker). If the comparison reveals the attacker’s pawn wins the encounter (3>2, 2>1, 1>0, and 0>3), then the attacker captures the defender’s pawn. Alternatively, if the defender’s pawn wins the encounter, it stays in its location on the board with its markings revealed and the attacker moves his pawn back to the location it was in before the encounter.

To spice up the game, Shadows in Kyoto also includes Charisma and Equipment cards. These cards can be distributed to the players to provide enhanced powers or abilities that alter some aspect of the rules in favor of the player. For example, the Ayane card allows a player to return a location card to their hand after playing it instead of putting in their discard pile.

No matter which way I placed my pawns initially, my husband was able to deduce my hidden information (i.e. the markings on the back of my pawns) after just a few encounters or find a way to move one of his agents carrying real intel quickly to the back row of my board. Again and again, I tried to make some kind of strategic progress and always failed to do so. I wanted to cry. I’m pretty sure I did cry at one point.

How could something with so few components and such basic rules be so difficult? Really, that’s the beauty of the game, if you’re one for elegant logic puzzles. In this way, Shadows in Kyoto is a fantastic game that should be highly appreciated by its target audience. It’s simple to learn, plays quickly, and requires a great deal of reasoning and strategy, both in the initial placement of one’s pawns and the ensuing gameplay. And the artwork is an exquisite bonus. The game’s just not right for me though, and that’s why I’m giving it one “oui”.

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Publisher: Deep Water Games
Players: 2
Actual Playing Time (vs the guideline on the box): About 20 minutes
Game type: abstract deduction
Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

Deep Water Games provided me a review copy of Mystery of The Temples , an abstract area control game designed by Wei-Min Ling. It's one of three games in my collection from the Deep Water Games catalog that were originally published by EmperorS4 and feature artwork by Maisherly Chan (Shadows in Kyoto and Hanamikoji are the other two).

In Mystery of the Temples, players take on the role of adventurers on a quest to collect ancient runes protected by dark curses.  In order to break the curses, crystals must be collected and aligned. During game setup, five temple cards are arranged face up in a circle and two wilderness cards are placed in between each pair of temple cards (the picture below shows an alternative arrangement for a 2-player game). A stack of rune cards (4 cards per stack; these cards provide valuable crystal bonuses) are placed face down above each temple card and the top card in each stack is flipped face up. Temple objective cards are laid out; these cards provide additional victory points for breaking temple curses. Each player is given a grid to collect crystals on.

During the game, each player moves their curse breaker meeple clockwise across the temples and wilderness, obeying the detailed rules provided in the rule book. Ending a turn on a wildness card allows a player to collect crystals to carefully arrange on their grid.

Ending a turn on a temple card allows a player to turn in crystals (which must be connected on their grid sheet in the precise order specified on the temple card) to break a curse and earn victory points. There are multiple strategic decisions to be made during a turn as each wilderness card offers up different crystal gathering opportunities and each temple card provides victory points ranging from 3 to 8, depending on how many crystals a player is able to pattern match and discard. Each of the various crystal combinations on the temple cards can only be claimed once so a player must decide whether to amass the minimum amount of crystals to quickly fill in the lower victory point slots before their opponents can, or work at a slower pace, giving themselves time to collect and arrange longer chains of crystals on their grid sheets that will be worth more victory points.

The game ends at the conclusion of the first round in which a player has broken their fifth curse. Victory points are then tallied and the player with the highest victory point total wins the game. Once players are comfortable with the standard rules of play, they can experiment with the advanced rules, which provide for more complexity and variability in play and scoring. As with most area control games, scaling player counts can be an issue. The designer has addressed this in Mystery of the Temples by providing a 2-player variant that uses extra player markers (to block off temple curse claim spots), less wilderness cards, and an extra player meeple (to occupy random temple and wildness card spaces and block movement to those spaces; the meeple moves after each player’s turn). We found these adjustments allowed for the 2-player game to be just as compelling as with higher player counts.

Replayability is high due to the abstract nature of the game play in Mystery of the Temples. There are no narrative cards to tire of and the unique move combinations that can be sequenced to earn victory points are numerous as the temple and wilderness card layout vary each game. There is a moderate amount of analysis paralysis but it is manageable. Game play lasts around 45 minutes on average.

Game components include beautifully illustrated plastic coated cards (everything Maisherly Chan creates is visually appealing and the card and box cover art here are no exception), cardboard tokens, wooden player markers and meeples, and acrylic crystals. Everything should hold up well under regular use. The crystals are sparkly and fun; I absolutely love them.

While the other Deep Water Games titles didn’t work for me (too frustrating in the depth of analysis required), this one is a keeper. It’s the only one of the three games that hits the conceptual sweet spot for me of challenging but still fun. There is a nice flow to the game; the rhythm of moving my meeple each turn and collecting crystals is pleasant.  Mystery of the Temples provides plenty of intellectual challenge in a small box (this game is not easy by any means) with beautiful artwork and an affordable price point.

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Publisher: Deep Water Games
Players: 2-4
Actual Playing Time (vs the guideline on the box): About 45 minutes per game
Game type: area control, abstract

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

There was a time – before I sank my teeth into the board game hobby and before I took on the demands of being a stepmom to three children - that I planned frequent trips for my friends circle. Each month would see us jet setting off to a different part of the United States (or a different part of the world) in search of adventure and great cuisine. I would pour myself into the research project that proper trip planning requires and create a custom itinerary for our group, working to ensure we caught all the highlights of our destination. This post is about the one I worked up for our last trip to some of the great Western National Parks in the United States.  I share it here with the hope that you might find the itinerary useful in planning your trip out west.

--> Full Photo Gallery – Come and Explore 

There are some games in my collection that I get excited about when they arrive at my house but it takes me months to get them to the table. Typically in these cases the artwork is lovely, the theme is interesting, and the mechanics look promising but there is something standing in the way of playing the game right away. For Triora: City of Witches (designed by Michael C. Alves), what stood in the way is the game’s rulebook. It absolutely flummoxed me.  Even with the errata notes released a few months ago, it’s hard to make sense of the rules. It made a mess of things. And look what’s it’s done to my review – I usually like to start with a nice overview of a game’s theme, cover the components and artwork, and then dive into the gameplay.  But the rulebook is so awful in this case, I’m forced to lead with that. The publisher needs a skilled editor to rewrite the rulebook entirely. It’s laden with spelling errors and unclear language.

So that’s the bad news; the rulebook is subpar. The good news is the game itself is quite interesting. In Triora: City of Witches, players take on the role of witches and their familiars who have traveled to the city to face off against the nobility and the inquisitor, both of whom have been persecuting local women they suspect are witches. To win the game, a player must have the highest total victory points (referred to as doom points and sometimes ruin points in the rulebook) at the conclusion of the game. The end of the game happens at the end of the round in which one of two conditions are met:

[1] three of the four main locations in the city are destroyed,

or

[2] a witch is captured by the inquisitor after they have already accumulated the maximum inquisition points. Note that a witch captured this way is out of the game and ineligible for victory, as all of their doom/ruin points are forfeited.

Gameplay centers on making and using potions toward strategic ends. Players can create potions both by simply moving their witch meeple to a new location (grants 1 cauldron automatically, which can be used to make one type of potion from the requisite herbs held by the player) and by visiting a location with their witch or familiar that grants a cauldron as part of the action of that location. Note that there is an entire subroutine for generating the requisite herbs on a player’s board; once used to make a potion, herbs shift to a seed state and then must pass through planting and harvesting phases before they transform into usable herbs once more. Potions are consumed when visiting locations on the board that require a potion to complete an action at a location (either as an upfront cost to initiate the action or as an input to the action such as when changing potions into silver or taking control of villagers).  Certain locations on the board are defined targets for destruction; when players move their witch or familiar to these locations (there are 4 of them), as part of the location’s action, they place one of their wooden player tokens on the location. When the required number of tokens have been placed, the location is destroyed.

I’ve mentioned players moving their witch or their familiar on their turns. A player gets two turns per round; one turn to move their witch and the other to move their familiar. It is up to the player to determine which to move first. There is more freedom in moving witches (familiars cannot be moved to a location where a witch or another familiar is currently located) and moving a witch grants extra benefits (the automatic cauldron as mentioned above but also there is a witch’s bonus at each location that is granted only when a witch is moved to the location). However, there is also more risk in moving a witch and so it must be done with great attention to detail. This is because in addition to the witches and their familiars, there is also an Inquisitor meeple moving around the board (up to 2 spaces per round; it moves after all players have finishes their witch and familiar movements for the round). If the Inquisitor lands on a location where a witch is standing, the controlling player of the witch receives a penalty, which can include the immediate loss of the game if they have sufficiently high inquisition points already (inquisition points are assigned when completing certain actions as well as each time the Inquisitor catches your witch). In fact, in all of the games I played, the ending was triggered because a player didn’t carefully consider the Inquisitor’s upcoming movement when moving their witch on their turn and thus they found themselves caught by the Inquisitor and disqualified from winning. And these were smart opponents with several years of experience playing strategy games. So remember to be mindful of the Inquisitor’s current location and movement possibilities before you pick up your witch to move her.

In addition to the Inquisitor, there is a meeple representing the spirit of Morgana, the great witch who drew the witches and familiars to Triora. If Morgana catches up to a player’s witch on the board, the player is granted doom points or shovels (used in the seed to herb subroutine) if they are willing to accept some inquisition points as the cost for these benefits.

There is a moderate amount of analysis paralysis inherent in the game, but it’s not extreme. What will cause slowdowns during gameplay is trying to determine consensus on the rules as questions arise that the rulebook fails to address. For example:

1 . For the two player setup, the rulebook notes that two extra familiars should be placed on the board; these will move around the board each round and serve to occupy spaces and simulate the limitations on familiar movement that players would normally encounter during a three or four player game. Once they are initially placed (instructions say each player should place one familiar), are players limited to controlling the extra familiar they placed or can they select either of the extra familiars to move? The rulebook just states that before or after a player moves their own familiar they should move one of the extra familiars. We had much debate on this; I thought you should be able to move either familiar but my husband thought it made more sense that you should only be able to move the one you initially placed otherwise you could just move the one your opponent placed each turn to get it out of your way.

2. Do players alternate with other players their turns in which they place their witch and their familiar or does play pass from one player to another only after a player does both their turns?

3. When and how often do villager bonuses trigger? The rulebook states that they grant a bonus to the player in the final round, which implies the end of the game. But the bonus list includes “produce 1 shovel”, which would do no good in the final round so that doesn’t make sense. We think it should have read in each round, but we can’t be sure. Also, it’s a high price to play for a villager if you get its bonus only once per game as most villagers cost 3 potions.

4. More villager confusion: the rulebook notes that villagers may be used for actions in the Swamp House. But the only action available in the swamp house is to corrupt and acquire more villagers. It’s not clear how a player would use a villager to corrupt and acquire another villager.  And the rulebook also states that villagers may be used for the action in the City location. But the City is the other location where you corrupt and acquire villagers. Based on this, we think the rulebook was trying to convey that these 2 locations are where you get villagers, not where you use them as is actually written.

5. If a player is not at max inquisition points but the result of the Inquisitor catching their witch would take them over 32 points, does that also trigger the end of the game?

Once players get the rules sorted out (they will likely will need to decide on house rules for the questions above or request feedback from the publisher), they can dive in and enjoy the mechanics of the game. The artwork is lovely and the components are pretty well made (components include plastic coated cards, wooden meeples, wooden and cardboard tokens, cardboard player boards, and the large central board hosting all the locations).

I’m really indecisive on the final rating I should award Triora: City of Witches. A perfect rating (oui! oui! oui!) is out of the question because there are some minor problems with the game independent of the rulebook. For example, a round begins with nightfall and the movement of the Inquisitor and Morgana come after that during the day phase but on the top of the main board the Inquisitor’s movement is the very first item shown on the left, followed by Morgana’s movement; nightfall is shown at the end of the line. Why does the sequence of phases on the board not match the actual sequence of play? Is it possible that in earlier drafts of the game nightfall marked the end of the round instead of the beginning and the board was designed based on those drafts?  If the rulebook wasn’t a disaster the game could absolutely be worthy a oui! oui! rating.  So how heavily should the rulebook factor in here? It’s entirely possible that the problems with the rulebook aren’t the result of shoddy work but simply language translation issues (the game originated in Brazil; I am assuming the English rulebook is a translation). That makes me feel bad about dropping my rating down a notch. But with an oversaturated board game market (I heard last week that approximately 3000 new games are published yearly), I can’t in good faith recommend folks invest in a game that is such a headache to sort out how to play. So Triora: City of Witches gets a oui! from me for now. I’m going to hold onto the game and may play it occasionally and I’m happy to take another look at the game as a courtesy to the publisher should they fix their rulebook and ask me to re-evaluate.

Bonus side story: when posting pictures of the game to Instagram, I found out the village baker in Triora and other folks interested in the city track the #triora hashtag. This came to my attention because these individuals began to send me private messages on IG. They had heard a game was being made about their village but they didn’t know the details. They wanted to know the locations in the village depicted on the board (to see if they corresponded to actual locations). They wanted to know how one wins the game (imagine how awkward it was to explain that one of the goals of the game is to destroy the city). They wanted to see pictures of the game. It was a very entertaining series of conversations and now I’ve actually made a new friend from overseas after having chatted with him at length about the game and the village and its historical events regarding witchcraft.

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Publisher: Meeple BR Jogos
Players: 2-4
Actual Playing Time (vs the guideline on the box): varies widely depending on whether the game ends via Inquisitor or destruction; 10-60 minutes.
Game type: worker placement, area control

Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

After I reviewed Railroad Rivals , the publisher (Forbidden Games) sent me Raccoon Tycoon to evaluate. It’s by the same designer, Glenn Drover. He’s an award winning, well known designer credited with the creation of more than 25 different board games. I’ve only ever played one other game of his (Railroad Rivals) so I’m not sure if it’s the case across all his games, but there’s definitely a similarity in creative style evident in these two games. Like Railroad Rivals, Raccoon Tycoon is a mid-weight strategy game that can be played in under 90 minutes, featuring elements of auction/bidding, set collection, and price speculation.

In Raccoon Tycoon, players take on the role of capitalists building businesses, towns, and railroads, financed by speculative production and selling of commodities. This all takes place in a land populated by adorable anthropomorphic animals -raccoons, skunks, cats, and dogs, just to name a few. One thing I wondered during play was whether we were also animals in this story. I assume so, and in that case, it would have been extra awesome if identity cards giving each player an animal persona and backstory were included in the components. Identity cards would help reinforce the theme and pull players deeper into the story. An idea for an expansion perhaps, with differing special powers granted to each persona?

Over a series of rounds, players take turns completing actions, until either all the railroads or towns are sold, which marks the last round of the game. At that point, play continues until each player finishes the current round and victory points from railroads, towns, buildings, and building bonuses are tallied to determine the winner (victory points from mission objectives are tallied at this time if playing with the Kickstarter exclusive expansion).

Drover shows restraint in the action options available to players; there are only five possible choices on a turn. Players can produce various commodities and raise commodity prices (as directed by the price/production cards in their hand), sell a self-selected quantity of a commodity to reap the financial reward, start a bidding war to buy shares in one of the railroad companies, purchase a building (a business), or purchase a new town. Sometimes the action selection is limited by one’s financial resources – if you don’t have enough money to buy anything you’re going to need to produce or sell. Other times your options are wide open (these are the moments when a bit of analysis paralysis can creep in) and you’ll need to make careful decisions to optimize your economic fortunes. Strategy tips we’ve learned along the way:

• The Auction House is a great building to purchase if it comes up early in the game. So much of Raccoon Tycoon centers on buying railroads and if you have this building, you’ll make $5 every time one is purchased. That money can really come in handy for buying towns or winning railroad auctions.
• Unless you’re worried about a competitor tying your score or you’ve got a mission card that specifies cash as a victory point condition, it’s best to focus the last few rounds on spending your cash to purchase towns and railroads (or stockpiling commodities if you’re playing with the Kickstarter exclusive expansion and commodities are tied to your mission). Money is otherwise worthless at the end of the game.
• It’s better to win auctions when it’s not your turn. Let others start auctions on their turns while you focus on winning them. This will force your competitors to use their valuable turn action to attempt a rail purchase while you gain the chance to buy one and still have your turn action available to accomplish other tasks. Of course, to do this, you’ll need to ensure you always have a pile of cash at the ready in case a railroad you need to complete a set comes up for bidding.
• Each building owned extends the owning player’s commodity stockpile limit by 1, so if you’re playing with the Kickstarter exclusive expansion and your mission card is tied to amassing commodities, focusing on building purchases (especially the warehouses which each increase the limit by 4) in tandem with stockpiling commodities will allow you to get the maximum amount of victory points.

The artwork for Raccoon Tycoon is provided by Jacoby O’Connor and Annie Stegg. It’s quite nice; there’s a Thomas Kinkade kind of feel to the railroad and town card illustrations, while the box cover art is reminiscent of folk art.

The components for Raccoon Tycoon are well made. This seems to be a hallmark of the publisher, Forbidden Games. There are thick cardboard tiles (buildings), plastic coated cards (railroad, town, price/production cards, and mission cards), wooden tokens (commodities), plastic coated paper money, a giant artsy wooden raccoon (start player token), the rule book, and the main game board.

I want to especially call attention to the plastic-coated paper money because it’s a brilliant way to provide economic resources that approach the quality and enjoyment of metal or clay coins, but at a fraction of the cost. Kudos to the design team member who made that decision. The only deficiency in the components is the lack of player aids. This is a problem with many games published today so I don’t want to beat up too much on Forbidden Games specifically, but it’s just so frustrating. They’re such a valuable item to offer players and they don’t add much to the cost of production, so I don’t understand why so many times player aids are not included. To get us through our first game, I photocopied the action choices from the bottom of page 6 in the rulebook and handed out the sheets to each player.

Lately, I’ve been playing a lot of games with people outside of my core game group. I volunteer at a local youth center playing games with teens once a month, I play with relatives who visit from out of town, and my husband and I bring games on work or personal travel to play with people we meet. There’s a strong demand in such situations for games that can be taught and learned easily but are complex enough in strategy to keep myself (or any other advanced gamers who end up in the mix) engaged. Raccoon Tycoon meets that demand. It’s fun, it’s clever, it’s adorable in its theme and artwork, and it can be played in a reasonable amount of time; a great choice for an addition to any game library.

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Publisher: Forbidden Games
Players: 1-5
Actual Playing Time (vs the guideline on the box): 60-90 minutes
Game type: set collection, auction/bidding, price speculation
Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.

Machi Koro  was one of the first games my husband Chris and I played together. It was released in 2012 and when we started gaming together in 2013, it was still a popular game on reviewer blogs and videos as we sought guidance in what to play and what to buy. Once Machi Koro  was in our collection, I spent every game trying my best to outthink Chris and acquire the best combination of establishment types to ensure victory. As we were enticed by other new games coming out and were drawn deeper into heavy Euros, we left Machi Koro on the shelf more frequently, with an occasional wistful comment about how we should play again.

At GenCon earlier this year, Machi Koro Legacy  was the talk of the town. Designed by Rob Daviau, JR Honeycutt, and Masao Suganuma (Masao is the original designer of Machi Koro), it promised to breathe new life into Machi Koro through a campaign style series of ten games, revealing new aspects of gameplay in each session at the table. We love legacy games, so we were sold on the idea right away.

The artwork for Machi Koro Legacy  features two of the principal artists from Machi Koro , Noboru Hotta and Jason D. Kingsley, and the signature cutesy cartoonish illustrations from the original are dominant in this legacy edition as well.

In Machi Koro Legacy, players take on the role of mayors competing to build the most attractive town on the Island of Machi Koro. During each game, every mayor is vying for the title of Best Mayor and must also work with the other mayors to build a landmark on the island. Players are given a starting assortment of establishment cards to select from for their town, and on each turn the following steps are taken:

(1) The active player rolls a die or a pair of dice, depending on the phase in the campaign.

(2) All players activate the establishment cards in their towns that match the sum of the die/dice roll and are applicable. Activating an establishment card means gaining the benefit listed on the card (usually collecting income). 

(3) The active player takes one action. Actions to select from vary widely depending on the phase of the campaign but always include purchasing new establishments from the market to add to one’s town, building a landmark in one’s town (landmarks are special buildings that change one aspect of the rules for the owning player), or contributing toward the community landmark. 

When one player has built all of their landmarks and contributed to the community landmark, they are declared the best mayor and win the game. As the legacy campaign progresses two main effects are felt. First, an overarching narrative slowly reveals itself. Second, as new legacy components are unboxed, the complexity of the game grows. The gameplay never grows in difficulty beyond a lightweight strategy game, but the new components present additional factors to consider when making decisions and also introduce more variability in the marketplace.

We decided to play through our review copy with our ten year old son, Max. We thought it would be a good fit because he’s quite adept at board games and loves Space Base, which features a similar mechanism (drafting cards+rolling dice to collect benefits based on the card numbers that match the dice rolls).  He also understands the concept of legacy games as Chris is playing through another legacy game, Zombie Kids, with him and our other children.

As we settled into our first game, I got a good look at the components. The coins are plastic, which I’ve never seen before. It’s a good middle ground between cost saving cardboard coin tokens and the more luxurious clay or metal coins some games includes. Besides the coins, the starting components include cardboard tokens for player flags and town boards, two standard d6 dice, a sticker sheet, 65 plastic coated cards, a legacy deck of plastic coated cards (which must be opened  and worked through in sequence when instructed), and six “mystery” boxes to be opened as instructed during the course of the campaign. All the components are sturdy enough to hold up to repeated play.

My son Max was enthusiastic about Machi Koro Legacy from the first turn and his enthusiasm continued to blossom as he won game after game. He quickly capitalized on the obvious strategies – buy up establishments that are statistically more likely to be activated during dice rolls, then push toward dice (vs die) rolls as soon as possible. This meant collecting a lot of establishments that activate when 7 or 8 are rolled.  My husband followed the same strategy but didn’t always remember to build his town landmarks in a timely fashion, so he only won a few games. Me, I was a tragic tale of bad strategy. I opted to corner the market on single die roll establishments during my first few games, which didn’t work out well at all. Even in future games when I shifted to a 2 dice strategy, I was unable to gain any ground as some of the legacy components unboxed that Max and Chris had quickly scooped up gave a strong advantage over the rest of the campaign. At times, I felt it was impossible for me to win and I felt frustrated that Machi Koro Legacy  doesn’t provide a good catch up mechanism or some way to balance out the power of the more powerful legacy components. Without giving away any spoilers, I want to offer this essential tip: when components are unboxed that you have to prioritize taking specific actions to earn, TAKE THOSE ACTIONS AND EARN THOSE COMPONENTS. Some of the components won’t prove to be game changers, but some will and if you let your opponents take all of them you will be at a serious disadvantage the rest of the campaign with no way to rebalance the game.

Max loved Machi Koro Legacy so much that we agreed to binge play. We ran through the entire campaign of 10 games in just one week. We didn’t face any serious analysis paralysis during gameplay, so each game took no more than 45 minutes. In the end, Max won six games, Chris won four, and I didn’t win any. The game offers a great amount of replayability - when the legacy campaign is over, players can continue to play the game using a modified set of rules and a subset of the components. Chris feels that the permanent game we are left with is a bit more interesting than the original Machi Koro  edition, so would be purchasers should consider Machi Koro Legacy  an investment in not only ten distinct game session experiences, but also a fun, kid-friendly, permanent, upgraded edition of the original game. I have to agree that Machi Koro Legacy  is one of the most kid-friendly legacy games in the board game marketplace. You absolutely want to add this to the Christmas present pile for your under 18 set, where the gift becomes not only the game, but the time you’ll spend playing it with them. And while hard core Euro gamers will likely skip over the game in pursuit of heavier strategy picks, gamers who enjoy lightweight strategy games will enjoy the easy-to-learn, quick-to-play experience that Machi Koro Legacy  offers. 

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Publisher: Pandasaurus Games
Players: 2-4
Actual Playing Time (vs the guideline on the box): 30-45 min
Game type: card drafting, dice rolling
Rating:

Jenni’s rating scale:
OUI: I would play this game again; this game is ok. I probably would not buy this game myself but I would play it with those who own it and if someone gave it to me I would keep it.
OUI OUI: I would play this game again; this game is good. I would buy this game.
OUI OUI OUI: I LOVE THIS GAME. I MUST HAVE THIS GAME.
NON: I would not play this game again. I would return this game or give it away if it was given to me.