It’s pretty rare that I learn a game digitally. I find it so much harder to learn a game by watching videos on YouTube then starting a game on a website like Boardgamearena.com or Yucata.de and just seeing how it goes over a couple of days. I end up acting like those old point-and-click adventure games, where I just click anything that’s available to click and hope to stumble onto the answer. Generally, reading the rules gives me a framework of how to play, but I find it quite difficult to conceptualize or strategize until I’ve played a game through at least once.
Vikings is a game that I played a dozen times on Yucata.de before picking up the physical edition. The online implementation is great, but like most of us who are ‘in the board game hobby’, given the choice between playing games in a web browser and playing a game in the table, we’ll take the table every time. And I’m glad I did, Vikings by Michael Kiesling is a gem of a game.
How to Play
To play Vikings, each round 12 tiles are laid out around the central spinning wheel. Any boat tiles are placed at the highest available number and any island tile is placed at the lowest available number. Then 12 Vikings are pulled from the bag and sorted into their colours and placed next to each tile. Blue Vikings go among the lowest number, then yellows, greens, reds, blacks and finally greys Vikings are placed at the highest number. At the beginning of the game you’re given coins depending on the number of players and a single island start tile.
On your turn you need to buy a tile and Viking pair, and place the tile into your tableau. The amount you pay for a tile and Viking combo is dictated by the wheel in the centre of the table, from 11 gold all the way down to 0 gold. You can only take the 0 cost tile if the Viking next to that island is the only one of its colour available.
After buying an island and Viking, you need to place the island into your tableau. If you manage to place the island tile in the same colour row as your Viking, you can place the Viking right onto that piece of land, otherwise your Viking has to sit at the top of the board until a boatswain ferries it onto an empty tile. It’s also important to note that the island tiles come in three varieties, start, middle, and end. If you have a start tile in your tableau, then you can put a middle or end tile against it, but you can’t put two start tiles adjacent to each other.
When someone does manage to take the free tile, the price wheel rotates clockwise until the 0 spot is lined up with the next available Viking, thereby making everything else cheaper. If you choose to buy the most expensive tile available, you’ll also get a special tile that offers some significant benefits.
If the tile you take happens to have an invading boat instead of a piece of island, the Viking defaults to sitting on the beach at the top of your board, and the boat is placed along the top row on your tableau. Any boat along the top of your tableau will negate some of your Vikings in that column, rendering them useless.
When I’m teaching Vikings, I feel a bit like I’m teaching Galaxy Trucker. “These blue Vikings are fishermen, they feed 5 Vikings in your commune. You want as many of these as possible. The yellow Vikings are gold smiths, they earn you 3 gold each. You want as many of these as possible. The red Vikings are nobles, they give you two points per red Viking. You want as many of them as possible!” Every Viking has their role, and the left side of the player board will remind of as to what each one does.
Review
Vikings by Michael Kiesling defies expectations. When you hear Vikings, you’ll think exploration, pillaging, and mayhem. In this box you’ll instead find a fast economic game about fiscal responsibility and real estate management. In fact, the only thing that really makes Vikings feel like a Viking game, is the meeples with the horned helmets.
You have a limited amount of money to spend on getting Vikings and limited ways to generate more gold. You need to deal with Vikings of the wrong colour associated with exactly the tile you need so you’ll need to make do. Sometimes in a round there will only be one or two of the coveted starting tiles, forcing you need to balance picking other Vikings and hoping the price for that one tile drops a bit, but not too low that one of your opponents leaps out and takes before you.
The game comes with a couple optional variants, such as bidding for turn order, and advanced tiles that offer a benefit if you buy the most expensive tile available. I rarely use the bidding for turn order option, but I never play without the advanced tiles. They don’t add much to the rules or complexity, but they offer rewards for doing something unexpected, like buying the most expensive tile on the board. Sometimes the cheaper tiles aren’t that appealing it’s really nice to have a reward for spending a bit of coin on the more expensive tiles.
If you run out of money you can opt to use victory points to make up the difference at a rate of 1 to 1. You are never forced to trade points for gold, but if you can if you want. You better make sure that doing so worth your while, as at the end of the game the conversion back from gold to victory points is 5 gold to 1 point.
Vikings plays well at all player counts, but it does feel weird to play several 4 player games, then switch to a two player game. The number of Vikings and islands don’t change, so you just end up accumulating twice as many as you normally would have. It’s full of decisions and trade-offs that make each game feel different and intresting.
Vikings doesn’t coddle you with a catch up mechanism. If you start falling behind you are liable to stay behind. While there’s no way to directly interact with someone, a keen eye can deny someone a crucial component to their community. Thankfully, Vikings doesn’t overstay it’s welcome. With a bright colour pallet and unique spinner in the middle of the table and a 45-60 minute playtime, it’s easy to see why Vikings has is my most played Michael Keisling game. It’s a solid design and it keeps coming back out for more.
A prototype of Draft & Write Records was provided by the publisher for review purposes
Introduction
A great shame in my life is that I never grew up appreciating music. I lived in a very small town and the extent of my exposure to music were some old country cassettes and a bunch of recorders stuffed into the school’s storage. As a teenager I got my hands a few CD’s, like Sum 41’s All Killer No Filler, Green Day’s American Idiot, and The Killers Hot Fuss. I listened to these 3 CDs on repeat on my Sony Discman, but getting new or varied albums was quite a challenge. The closest town with a ‘music’ store was 4 hours away, and at the time, buying new albums was directly competing with my desire to buy books and video games.
As an adult, living in the world of streaming, I spend most of my time listening to Pokémon Lo-Fi remixes while I work, or to the local alt-rock radio station during my morning commute. Unfortunately, music is just background noise in my life, it’s never the focus.
What I’m trying to say here, is that I have no special affinity for musically themed games. But enough about my music history (or great lack thereof), let’s talk about Draft & Write Records by Inside Up Games!
How to Play
In Draft & Write Records players will embark on a weeks long quest to become the most popular band in all the land, or, the most popular band at your table. Each round of the game is structured after a week. On the first day of the week phase, 5 cards are dealt out to each player. Each player simultaneously selects one of the cards to keep, and passes the rest to their neighbour. All players reveal their card simultaneously, taking the associated action depicted on the card.
Players repeat this three more times, until they’ve played 4 cards total. The fifth card is tossed into a common discard pile, then the weekend arrives. During the weekend, all players evaluate the common goals. If anyone achieved them, they record the score on their sheet, and the goal is discarded. After all goals have been evaluated, the goal line is refreshed, and the game continues with a whole new week.
There are 5 different actions depicted on the cards, each action corresponds to a specific section of your player sheet. The centre is building your band, which has you playing musicians, production staff, and backstage staff. Each band member has a point value, and 4 attributes. You record the points and the attributes in a single section. Should an attribute match with an adjacent band member, you create a harmony, allowing you to cross off a section on the harmony track (which can net you bonus actions and victory points.
The Agenda cards refer to a 4 by 4 grid of symbols in the top right corner. You’ll need 4 symbols in a row or column to unlock the bonuses on both sides of the line. The asset cards allow you to cross off matching icons on the asset section, and you’ll earn the bonuses if you manage to cross off the asset on both sides of the bonus.
The releases and the tours sections of the board aren’t actions represented on cards. The only way you can progress in those spaces is by unlocking the associated bonus peppered throughout the board. If you are ever in a situation where you cannot play a card, or you choose not to play a card, you must take a ‘fail’, which will deliver negative points. Too many fails will end the game for everyone.
The game is over if someone fills their fail track, fills their goal track, or, completely fills their band section. The points are tallied, and the player with the highest score is the winner!
Review
Draft & Write Records is coming to Kickstarter on September 27th. As always with anything that gets produced via a crowdfunding campaign, everything is subject to change.
As I alluded to above, I have no affinity for the theme; music has never been a big part of my life. I’ve made a few feeble attempts at learning some instruments, but it’s not a skill I’ve developed.
In Draft & Write Records players are drafting actions to use to fill out their player board. At first glance the board looks big, colourful, and busy, difficult to intuit how all the sections work together. Learning the game from the rulebook was straightforward and clear. Each section of your player sheet operates independently and the rule book walks through them one at a time.
Every round (or week) starts with 5 cards. On your turn, you pick one card, and pass the rest along. All players reveal their choices simultaneously, and take the action listed on the card they chose. After 4 actions, the 5th card is tossed into a central discard pile, and the goals are evaluated.
Front and centre of the board is the band lineup, featuring a lead singer, 4 musicians, 3 production crew, and 4 backstage staff. Each band member has 4 traits and a point value. If you can arrange your band members in a such a way that the traits alight, you’ll create a harmony, which lets you cross off a matching colour along the bottom of your sheet. This track is worth a fair amount of points, and helps lead to record deals.
Along the right side of the board are two different grids. In the top grid (your band’s agenda) you need to cross off 4 icons in a row to earn the bonuses on either end of the row. On the bottom right is a tablet depicting your bands assets, with a series of bonuses surrounded by icons. If you manage to cross off both the icons surrounding a bonus icon, you earn that bonus.
The joy of the ‘roll and write’ or ‘flip and write’, or now, the ‘draft and write’ genre of games is the ability to earn cascading bonuses. It feels so good when you take your single card, add a musician to your band list, cross off a harmony along the bottom, which gives you a free action in your agenda, which completes a row and a diagonal, gives you a record deal, a tour, and two more harmony dots you can fill in, which can cascade into more bonuses.
Of course, a turn like that can only really happen once per game and requires a lot of set up. Slowly building up your tableau in preparation for this moment can feel painful, but Draft & Write Records is pretty good at doling out little bits of bonuses as you work towards the big combo that will rocket your band into stardom.
It’s important to promote yourself on the radio!
The player deck can be absolutely massive if playing with the full complement of 6 players. You’ll only see 5 cards at a time, and your neighbours can’t affect your game, except for hate-drafting away the exact card you need. Personally, I didn’t feel compelled to scope out my competition’s sheets, or take a card that was of little benefit to me just to keep it out of the hands of my opponent. Most of your game will be spent just looking at your own sheet and trying to maximize your score.
In between each week is a goal evaluation phase. In the centre of the table are 4 goals that all players evaluate to try and earn points. They range from piddly 4 point goals like “Collect 2 piano symbols” all the way up to 24 point diamond goals requiring you hire 6x 1 point crew members. The goals deck is hefty, with 66 different goals in the version I played, which is great for variability and can lead players down lucrative paths they might not have considered before. Many of the goals also offer extra bonuses when they’re achieved, again, potentially triggering cascading bonuses and bringing a smile to my face.
Draft & Write Records feels much bigger and slower to play than many of the other “X and write” games I’ve played in the past, like Railroad Ink, or Cartographers. I enjoy the drafting element as it gives each player a different game to play. Maybe I’ll focus on building out my assets and harmonies more, while another player prioritizes going on tours. I like that our games will be different, and it’s not just giving every player the same choices and seeing who does best with them.
In the end, Draft & Write Records is a fun game to play and achieving the cascading combos triggers a dopamine release that I find incredibly satisfying. If you’re a fan of the “X and write” genre, Draft & Write Records is worth trying, doubly so if you have any affinity for the theme.
Mechanics: Cooperative, Dice Rolling Combat, Variable Player Powers
Players: 1 to 5
A prototype copy of the game was provided for review purposes
How to Play
Familiars and Foes is a 1 to 5 player cooperative boss battling game where you play as an elemental fox familiar on a quest to save the good witches and wizards of Joralee. A game of Familiars and Foes lasts for 4 waves, and pits players against a variety of enemy monsters.
To begin the game, all players chose an asymmetric familiar, and their corresponding spell cards. One will be the basic spells that you can use right from the start of the game, and the other will be the advanced spells that need to be unlocked by completing a variety of basic actions. The back of the rule book has a chart that seeds the board with a number of foes based on your player count, and chosen difficulty level.
To begin a round of Familiars and Foes, players first draw the witch or wizard they’re rescuing. If the element of the sorcerer matches one of the familiars, great! They have access to an extra special power during this wave. If the mage in distress doesn’t have a matching familiar in play, they’re simply discarded.
The foes for the wave are set into their slots, with their health dependent on the number of players at the table. The turn order is set, and the game begins. Players on their turn can either preform a physical attack, cast a spell, or play their artifact.
Physical attacks tables are listed on each player’s sheet, with a varying threshold for successes and failures for each character. One character would hurt themselves if you rolled 6 or under, but would do 4 damage if the die exceeded 16. Another character had easier thresholds, but lower rewards.
Each character has their own set of spells, although the basic spells are all pretty similar. On your turn if you chose to play a spell you simply select which one you’d like to cast, pay the required mana, and roll the die, hoping to earn a success by exceeding the threshold, which is different for each spell. Again, higher risks mean higher rewards. If you manage to land a hit using a basic attack, each other player at the table had the opportunity to pile on, using the Ballyhoo mechanic. They pay a single magic point, then flip a coin. Heads, they deal two damage. Tails, they take one damage. If the Ballyhoo succeeds, the next player can pile on too. The Ballyhoo either continues until all players have piled on, or someone fails the coin flip.
At the beginning of the game, each familiar draws an artifact card that offers a powerful onetime bonus. On your turn, you can choose to use your artifact, but then it’s gone for the rest of the game. Each player also has a special ability that they can use 3 times during the game. Again, once those charges are gone, so is the ability.
Play continues from character to character as dictated by the turn order tracker, until it finally reaches the enemy. All the foes that are still alive at this point roll a die, and act according to their table.
Once all the foes are defeated, players restore their magic points to full health, and proceed with the next wave. Finish 4 waves and you’ve won! If all players have their health points reduced to 0, the Familiars have failed.
Review
I was not prepared for how adorable Familiars and Foes was. This game exudes charm and character. I absolutely adore the art all over everything. The Familiars are cute, and I desperately want their pushes to adorn my shelves, the enemies are charming and clever, and the little artist flourishes left me absolutely charmed. Even the Familiars’ Familiars, the frogs, are adorable. I’ll say it loud and proud right now, I would die for Spike.
The copy I got to play is a prototype copy, and the designers assure me that every component that I had my hands on will be upgraded during the course of their crowdfunding campaign. Everything physical was fine, but I am looking forward to higher quality card stock. The tarot sized cards I got were a little bowed during my first play, which is only slightly disappointing. All the cards sit on the table for the entire game, meaning the bending isn’t a big deal, but it’s a minor annoyance with the physical production.
That being said, I love the large cards. It makes it easy to read the text from across the table, and gives the artist lots of room to display their charming foes. Seriously, Familiars and Foes art direction has absolutely charmed me. The heroes, the villains, everything is a joy to look at.
The gameplay is fast and simple, which is good for a game you plan on playing with your family. On your turn you choose to either do a physical attack, or cast a spell, then roll the die to determine if you were successful or not. In some cases, a low roll would see you suffering self-damage, while high rolls would deal critical hits.
The spells each character can cast are listed on their player sheet, and generally ask players how much risk they’re willing to take on, in return for how much damage they want to deal to the foe. The choices are straightforward and simple. Once you’ve made your choice, you roll the die and let fate decide if you made the right choice or not. There are precious few chances to re-roll a bad result, meaning sometimes the game might be a cakewalk, while other times you’ll find yourself getting crippled by the first Foe.
I’ve often talked about how I like progression in games, how I want to get stronger as the game goes on instead of trying to just survive a series of attritional battles. In this regard, I wish there were ways to earn more artifacts during the gameplay instead of only having one at the beginning. That said, I do enjoy the achievement system that unlocks your stronger spells. It’s also a helpful teaching tool, reducing the number of actions each player needs to consider at the start of the turn, and gives players a reason to try all their basic actions first, before giving them the real juicy attacks. I also appreciate that each witch or wizard you manage to rescue offers a boon to their corresponding familiar, potentially giving you a game-saving benefit.
I’m a fan of the Rougelike genre. Rogue Legacy, Enter the Gungeon, Wizard of Legend, and Slay the Spire are some of my favourite video games. Familiars and Foes has aspects that remind me of those rougelike games. Each time you set the game up, you’ll be in for a different combination of monsters and different artifacts that can drastically change how you will approach the wave. I really enjoy this variability, and I am looking forward to seeing more foes, more artifacts, and more familiars, hopefully in the form of stretch goals or future expansions. I would like to see the asymmetry in the characters expanded on even further, or having different ‘advance spell builds’ available for each Familiar to increase the replayability.
I enjoyed Familiars and Foes more than I expected. The charming art captured my heart and helped build a narrative in my head. The game-play is simplistic; choose an attack and roll a die to see if you hit, but I’m okay with that. I’m sure this would be a hit with my 6-year-old niece, even if she needs an adult to help her manage the game system. The cute art draws her in, the simple rule set doesn’t scare her away, and the pure joy that comes from rolling the die and scoring that critical hit is unparalleled. Familiars and Foes is a great cooperative game to introduce younger members of the family to the joy of board games.
Every year I encourage the members of my regular game group to create a top 100 games of all time. Today I’m continuing the series in which I trash on my friends favourite games, because apparently, I hate fun.
Hate is a very strong word, and most of these games I would still play. These are games that I would call ‘fine’ and would play if Bigfoot was really keen, but they are not games I would ever suggest playing on our game nights.
Today I’m picking on Bigfoot. He would identify himself as a euro gamer, while not specifically some who delights in trading cubes, he does seem to excel at it. Bigfoot is generally ‘the person to beat’ and more than once we’ve finished a game only to find his score is more than the rest of ours combined. While he’s not totally against the odd direct conflict game, his preferences are firmly in the economic side of the spectrum. For each of the games on this list, I’ve included where in his top 100 each of these games sit
Gaia Project #2 & Terra Mystica #14
My dislike for Gaia Project stems more from my dislike of its spiritual prequel Terra Mystica than anything else. While Gaia Project does address some of the more common complaints from its predecessor, such as helping prevent getting pinned in the corner and unable to do anything, It doesn’t do enough different to make me enjoy it.
I find the actions in Gaia Project to be prohibitively expensive. My biggest complaint is that I don’t like having to manage four different resources (Ore, Knowledge, Credits, and Power), to do anything, and that I always seem to be short on at least one of the resources, grinding my progress to a halt. I also complain about runaway leaders, It’s tough to watch one player pass early because they ran out of a resource, and watch another player take action after action, rush up a technology track, gain more benefits and start the next round in a much better position. I know this can be resolved if you ‘git gud’, but I’m just a scrub.
Gaia Project and Terra Mystica both reward players who plan out far ahead, and are able to squeeze efficiency out of every last action, and I’m jealous of those who have cracked the puzzle and able to score more than 50 points in every game. I can see that Gaia Project and Terra Mystica are very deep games that reward those who put the time and effort into learning the system.
Somewhat ironically, I really enjoy Clans of Caledonia. It shares the resource generating buildings of Terra Mystica, but combines everything into one resource (gold). It also has a fluctuating market a-la Navagador, which is one of my favourite Mac Gerdts games.
Gloomhaven #6
My first experience with Gloomhaven wasn’t great. The other three people I was playing with were not exactly the best at learning and remembering all the rules to a game, so it fell to me to learn and run the game’s system for the group. We played 12 times over the course of a couple of months with 6 losses before we as a group decided not to continue with the campaign.
Flash forward to just a couple of weeks ago, I gave Gloomhaven another shot via the video game on Steam. This experience helped me figure out why Gloomhaven always left a sour taste in my mouth. My fundamental problem with Gloomhaven is I don’t like the core of the game, the card burning mechanic.
If you haven’t played, the core of the game is that you have a hand of cards – between 8 and 12, depending on your character. Every card has a top half and bottom half. On your turn, you pick two cards from your hand, and you do the top action on one card and the bottom action on another card. After you play those cards, they go into your discard pile. To get your cards back, you need to rest, which will “burn” one of your cards, removing it from your supply for the rest of the mission. If your entire hand of cards is burned and/or you can’t play 2 cards on your turn, you’re ‘exhausted’ and you’re out off the game for the rest of the mission
This means your hand is functionally your timer for the game, your options will dwindle as the game goes on, feeling like a noose tightening around your neck. Your hand is being depleted quicker and quicker, and you need to complete the objective.
Most of your strongest actions will burn the card instead of sending it to the discard pile, which means to do a big cool thing, you just straight-up burn the card. It’s that fundamental aspect that I dislike, I feel like I’m being punished for doing the big cool thing, and that’s not how I like my games to feel. If I’m playing a combat-centric game, I want to be a big damn hero, not a rag-tag adventurer just barely making it out of each encounter alive.
All that said, I can see why Gloomhaven is so beloved. It’s a tight and clever puzzle with lots and lots AND LOTS of good, tough decisions to make. When you manage to survive the encounter with a sliver of health left, it feels great! But I don’t derive joy from that kind of game. I don’t enjoy feeling powerless during a battle. I tend to swing more towards the Massive Darkness end of the spectrum. A big dumb dungeon crawl where I’m chucking handfuls of dice and slaying a Elite monster in a single blow.
There aren’t many dungeon crawl games that I enjoy, but I have had a bunch of fun playing Massive Darkness (Raphaël Guiton, Jean-Baptiste Lullien and Nicolas Raoult), and Lord of the Rings: Journeys in Middle-Earth (Nathan I. Hajek and Grace Holdinghaus)
Tzolk’in: The Mayan Calendar #26
Tzolk’in: The Mayan Calendar by Simone Luciani and Daniele Tascini is a game that absolutely has depth and the capacity for mastery. Tzolk’in‘s main hook is how it simulates the passage of time. In the centre of the board is a large gear, and connected to that gear are five other smaller gears with spaces to place workers. Every round, the centre gear will turn one space, moving all the workers one spot up their tracks. On a player’s turn, they can either play workers from their supply (costing corn if they play more than one) or take works off the gears and preforming the associated actions.
Tzolk’in absolutely rewards mastery and forward planning. It’s not enough to take Tzolk’in one turn at a time, you need to be making plans and moves several turns in advance. While it is satisfying when all your place can come together, I struggle with Tzolk’in in that I just cannot seem to balance long term strategies with short term goals. I can place a worker down knowing that I want to pull him off in four turns, but in just two turns I find myself up the creek with no corn and no workers and required to pull my workers off early only to have something to do!
Tzolk’in a neat game, and I appreciate that some will enjoy its strategic offerings more than I have. It’s fine, and I wouldn’t deny playing it again, but it’s not one that I’ll ever suggest to play.
El Grande #60
This one is easy, I simply don’t like area control/area majority as a mechanic. I don’t find it fun or interesting. El Grande is a pure distillation of area control, that’s all there really is to this game. If you enjoy area control games, look no further because this one will serve you well. It’s just not my cup of tea. You go and enjoy your gerrymandering, I’ll be over here playing dexterity games.
Game Length: Physically, 30 – 45 minutes. On Board Game Arena, 10 minutes
Mechanics: card drafting, tableu building
Release Year: 2007
Designer: Thomas Lehmann
Artist: Martin Hoffmann, Claus Stephan, Mirko Suzuki
Introduction
I like playing Super Smash Brothers, I always have. I’ve played every iteration, and it’s one of the few straight-up fighting games that I actually enjoy (sidebar, I recently borrowed Pokken Tournament from the library only to be reminded how much I don’t like fighting games). My enthusiasm for Smash Bros has led me to exist in a very weird state. I can crush all of my friends, no competition, but I’m not good enough for the competitive scene. The few times I’ve dabbled in tournaments, I’ve gotten eliminated almost immediately. This is the state I find myself with Tom Lehmann’s Race for the Galaxy, I feel like I have an advantage over my friends, simply for having played it over 100 times, but when I approach other enthusiasts, I’m still a beginner, comparatively.
How to Play
Race for the Galaxy is a fast tableau builder. The entire game is managed via cards, with the only cardboard components being score chips. Race for the Galaxy begins with each player getting a starting world and a hand of cards. In your other hand, you’ll have cards depicting each of the actions that are available to you. At the start of the game, each player simultaneously picks one of the action cards and places it face down. Once all players have selected their action, the cards are turned face up.
Now, here’s the trick of the game. Only the actions selected will be available this round, and the action you selected will be taken by everyone else (you’ll get a small benefit for choosing that action). Actions are always taken in the following order
Explore – Draw cards from the deck
Develop – Play development (diamond) cards from your hand, discarding cards equal to it’s cost
Settle – Settle a planet (circle cards) from your hand, discarding cards equal to it’s cost
Trade & Consume – Discard one of the goods on one of your planets to draw cards, then use other planets consume powers, generally discarding a good to earn points or to draw more cards
Produce – Place one card face down on each of your planets that can produce a good. These are used during the Trade & Consume phase.
Once you’ve gone through all the actions that will be taken this round, you pick up your action cards and start again. The game ends when someone has played their 12th card in front of them, or, when the supply of victory points has been exhausted. The player with the highest score is the winner.
Review
To preface this review, I have only experienced the base game of Race for the Galaxy. My opinion is free from any expansions, which may or may not be sacrilege, depending on who you’re talking to.
I don’t often do this, but let’s start with the negatives. First, the art. The art in Race for the Galaxy is reminiscent of those old paperback sci-fi books that used to clutter my shelves, and it can serve as both a high or a low point, depending on your nostalgia. Many cards will look dark, boring, generic, or confusing, offering only a sliver of a story. The Glactic Federation is a yellow dome against a bloe background, and the Trade League is just two faceless people talking. For some, this style will hearken back to a by-gone era of science fiction, but for others, it comes across as dated and unattractive.
The other most common complaint is the heavy use of iconography. Personally, I find the icons incredibly apt at conveying information, but only because I’ve learned the language. Once the icons and card layout clicks with a player, Race for the Galaxy is a joy to play. You can understand what each card in your hand does with just a glance along the left side of the card, allowing you to quickly parse the information. Nothing feels obfuscated once you understand how to read Race for the Galaxy.
The goal of the game is to build an engine that can generate cards that will allow you to place more planets and developments into your tableau. Points are earned passively as you play planets and developments, and further points can be earned by consuming the goods of your planet’s produce. Some games will have a player rushing to get their 12 cards laid down to end the game, hoping their quantity of cards will overcome the quality cards the other players managed to get onto the table. Other games will see a player just consuming and producing ad nauseam until the supply of victory points are exhausted, which also triggers the end of the game. No matter which way you play, once you have your engine set up, it’s fun to see it run and produce a volume of cards and points that feels ludicrous compared to what you could do at the end of the game.
Each round of Race for the Galaxy is straightforward and quick. Once all players have selected just one action card, they’re revealed, and players move through the actions in order together. Any actions that were not picked are not taken, and once the final action is completed, players just pick up their action cards and choose what’s going to happen in the next round. It’s such a simple system, but it creates an amazing amount of tension. You’ll worry and fret over what other players will play, should you play your settle action so you can place a world? But if Bigfoot plays the settle action, you can play your world down anyway, so maybe you should choose to produce. But if Bigfoot doesn’t play Settle, you won’t have any worlds to produce! What to do?!
In a two player game, both players get to choose 2 actions per round, which I find absolutely wonderful. It gives you more control over the game, but still keeps the tension of trying to correctly assess what your opponent will be trying to do on their turn, so you can optimize and get the maximum benefit from their actions.
Race for the Galaxy is such a good tableau/engine builder, that it sours me on other experiences. I have a hard time playing Terraforming Mars, Wingspan, or Ark Nova because I would rather play this. In each of those games, your ability to draw and search for cards is sincerely limited. You’re at the whim of each game’s massive deck to deliver the prerequisites that you’ll need to get your engine going. Race for the Galaxy allows you to both search the deck with great speed, and has very few prerequisites that really require other cards, meaning that you’ll rarely be blaming the deck should you fail to get your engine going.
Just to drive the point home, in my last game of Terraforming Mars, I chose the starting corporation that gives a benefit to playing Jovian cards, as I had one Jovian card in my hand. I figured I’d dial in on that strategy, play the most Jovian cards possible to maximize the benefit from my corporation. Then, I didn’t draw a single Jovian card for the rest of the game. I had a similar issue in Ark Nova, where I played a card that would benefit me for every gorilla tag I played, then proceeded to not see a single card with that tag for the rest of the game. In both those examples, my ability to draw more cards was fairly limited, and I was locked into a two-hour game with an engine that wouldn’t turn over.
In Race for the Galaxy, I can draw 6 cards every turn if I want to, and still benefit from the actions other players take. There’s only 4 types of goods exist, so finding both a planet to produce a certain good, and a card that will consume that good is not difficult. And in the very worst cases, the game ends after 20 minutes. If you’re having a bad time, at least it’ll be over quickly.
Race for the Galaxy is a game that rewards multiple plays. Understanding and internalizing each of the actions and how to flow from building to producing to consuming to settling, and being able to accurately predict what your opponents are going to do and leverage their actions in addition to your own, makes this a fantastic game that pulls me back again and again. I do admit that I have a hard time justifying actually buying a copy of Race for the Galaxy when the version on Board Game Arena is freely available. No need to shuffle, no accidentally misplaying cards, and a plethora of people to play with makes it a fantastic way to play this clever card game. And, it even has tooltips, allowing you to hover over the cards to see exactly what they do, removing the need to learn the iconography up front. If you do learn that iconography, then games can be completed within 10 minutes, making this one of the fastest and deepest experiences on the site.
I adore Race for the Galaxy. It’s a fast, tense, excellent engine building game that offers a pure experience with lots of choices and strategies. Players have room to pivot, should a strategy not pan out, and when you can correctly identify the action your opponents will play and being able to capitalize those actions, the feeling of satisfaction is hard to beat. It’s eminently replayable, as evidenced by my 150 plays of the base game alone. I know some people swear by certain expansions, and maybe one day I’ll get into them. But for now, I’m just having too much fun with the experience that comes in the base box.
