Czech Games Edition and the Harry Potter Fiasco

 

It has been an eventful few days for Czech Games Edition (CGE) following their announcement of a new Harry Potter themed version of its long-running Codenames series; Codenames: Back to Hogwarts.

Following the announcement on BlueSky on 23rd July, CGE has come under fire from many trans-rights activists and fellow board game media content creators for choosing to release a game under the Harry Potter IP in 2025, the same year that the Harry Potter creator, JK Rowling, publicly boasted about using the royalties from her children's fiction empire to actively harm and campaign against trans-rights.

While there is a nuanced conversation to be had regarding the separation of the art from the artists, CGE has fallen under heavy criticism for failing to adequately engage with this dialogue. There are many ways in which people can engage with Harry Potter, if that is something they really want to do, that does not involve actively lining the pockets of a transphobe who is explicitly using the proceeds to attack one of the most marginalised communities in the world.

Initially CGE responded to the backlash by releasing a statement that many felt fell short of a proper acknowledgement of their concerns. 

As part of the statement they said, "The vast world of magic featured in the upcoming Codenames has been a source of inspiration... 

"We know many people around the world share the same sentiment about this universe, even among those who have been hurt by the public views and actions of its creator. 

"Deciding whether those feelings should also transfer to the once-beloved world is up to everyone, and we fully respect and understand those who do not wish to engage with this game...

"As this is an ongoing conversation, we encourage everyone to approach discussion with care, empathy, and respect - both online and in person."

This statement failed to even provide the space for this "ongoing conversation", however, as comments were quickly turned off following an influx of accounts commenting that the company should do better than this half-hearted response.

A flurry of table top content creators has already vowed to boycott CGE titles until they address the transphobia inherent in releasing HP licenced material. Tom Brewster, editor in chief of Shut Up & Sit Down, told BoardGameWire that he fails "to see Harry Potter: Codenames as anything but a soulless cash grab that's tremendously insulting to the trans folks JK Rowling has been trying her best to oust from public life."

A full account of the various big names that have joined this boycott can be found on BoardGameWire.

As of 31st July, CGE has released another statement:

"We're grateful to everyone who engaged with us over the past few days and took the time to share their perspectives.

"At CGE, our aim was never to cause harm, and we acknowledge that, with our recent Codenames announcement, we have. We are working hard within our constraints to find the best way forward and we will update you as soon as we can.

"We understand that what we have done has caused distress, and are working towards a concrete solution with several members of the affected communities.

"Please bear with us as we figure this out."

It is not yet known how this statement will affect those who have already promised to boycott CGE titles.

Since the release of this second statement, there has been a deluge of JK Rowling apologists commenting in support of CGE and labeling the voicing of concerns for the trans community as "bullying". Let us be clear here, consumer criticism of a company for harmful decision making is not bullying. It is the right of everyone to stand up for their morals and it is impossible for a company to be bullied into reversing a decision such as this. Bullying has a clear dynamic of power imbalance that consumers do not have over corporations in a capitalist society.

Hand Limit promotes inclusivity in the table top community and has already made the decision not to cover any Harry Potter related titles. However, until CGE provide the community with a clear route forward, we have made the decision to remove Codenames from one of our upcoming features.

We believe that it is possible for art to be separated from the artist (case in point: the work of HP Lovecraft), but money cannot be separated from the bank account of someone who seeks harm to our friends in the trans community.

Trans Right Are Human Rights.

Finally Played: Spirit Island

 Despite having been into table top gaming for a while now, there are a few games that always surprise people when say that I've never played them. These games are modern classics, staples of the table top scene, that almost any board game fan would usually have played early on in their gaming journey. 

In this new series, I am aiming to put that right and get as many of these games to the table as possible. Many are considered entry-level games for those new to the hobby, so will they stand up to someone coming at them from the other end of the spectrum?

Kicking off this series I sought out Spirit Island by R. Eric Reuss. While this isn't often considered a starter-game, it is widely regarded as a modern classic so it surprises me that I'd never had the opportunity to play it. 

Spirit Island, R. Eric Reuss - Greater Than Games

Spirit Island is a cooperative, anti-colonialist game. Players take the roles of the eponymous Spirits to defend the island from destructive colonisers and protect the indigenous population using their mystical powers. The spirits powers range from outright destruction to moving the enemy colonisers around the board, making them easier targets for other players. 

Each round consists of players levelling up their spirits, choosing actions, and then playing them out either before of after the colonists depending on the speed of the action. On the colonisers' turn they explore, build, and ravage different sections of the island, expanding their presence or spreading blight. The amount of blight dictates the overall health of the island and is difficult to remove. If too much blight is placed, the island becomes irreparably damaged, implying that even if you are successful in repelling the invaders, it comes at a cost.

Building on the narrative of the cost of removing the colonists, is the progression of the spirits themselves. As they level up they gain access to more and more powerful actions, which soon start to include negative effects as well. Yes, you can remove all the towns and cities from a space on the board, but you also must place a blight, or you destroy all the natives while you're at it. This helps establish a nuanced story in the course of play that really highlights the short and long term impacts of colonialism on native populations. Even if they are successful and manage to defend their island, it comes at a cost that they will be dealing with for years to come.

The game tells the story of invasion in a way that doesn't hold any punches. Players will start out feeling like the underdog defenders and it's easy to become overwhelmed by the sheer amount that is going on on the board. At the start of the game, the spirits are weak and ill-equipped to deal with the growing problem, but as they grow, more interesting and useful powers are unlocked. Through this progression players find their feet little by little and learn how they can work together to make the most out of their actions. The game is undeniably hard, but in an historical sense, it needs to be. It would be unfair on real-world indigenous populations if repelling colonisers was portrayed as something straight forward or easy. That being said, it did at times feel like the indigenous people, the Dahan, lacked agency and were a passive entity on the board, waiting for the spirits to deal with their problems. 

The game itself is a mixture of strategy, area control, and deck building, all of which are fairly well executed. There was also a satisfying crunchiness to the amount that was going on on the board. There's a lot of game here to sink your teeth into.

That being said, I found myself slightly underwhelmed with the game as a whole. The gameplay often felt a bit clunky and I found that as a new player I was getting frustrated at how difficult it was to take meaningful actions on my turn. There is definitely a high amount of strategy needed and there is very little luck involved. Personally, I like games to have a degree of chance to be truly engaging, and I think that Spirit Island is missing this. The only real element of the game that was left up to chance was which environments would be targeted by the colonisers, but as they were constantly all over the board anyway, it felt like everywhere was constantly under attack

The game generally has a nice art style, portrayed on the player's spirit boards and action cards, but I feel it is let down by the board itself, which looks fairly bland, even when covered with tokens and counters.

Overall, I can completely understand why this game is as popular as it is. There's plenty of scope for improving your skill and strategy on consecutive plays, learning how the game wants to be played. For me, however, the fantastic theme and mostly good artwork failed to stick the landing when it came to gameplay. I never felt like a mighty spirit of nature. More accurately, I felt a little lost and confused. Perhaps it was because we were all new players, but it didn't flow in a satisfying way and at times felt downright messy. I love the theme and would like to see more anti-colonial games, but I don't think Spirit Island is for me. It's possible that with more plays I would learn to love it, but I just don't know if there is enough there to draw me back in. Call it a skill issue, if you will, but the game failed to draw me in.

Regardless of my feelings, I am pleased to have finally managed to sit and play this game.

Canterbury Gaming Convention

Hand Limit is going to be at Canterbury Gaming Convention!

Canterbury Gaming Convention is Kent's premiere gaming event brought to you by the team at Dice & Destiny, with a host of board gaming, trading card gaming, and role playing available. This year its coing with a larger dedicated venue, a full suite of local exhibitors and special guests, and enough gaming to keep you going for the whole weekend. 

The event will be held on Saturday 9th and Sunday 10th August 2025 at the University of Kent Tennis Hall and The Pavilion Cafe Bar. There will also be a gaming quiz held on Friday 8th August at Dolche Vita on the University of Kent campus.

Get your tickets here.

The event is promising an impressive number of Special Guests along with tournaments, a miniature painting competition, and gaming demonstrations.

Hand Limit will be covering the event on all our social media and the blog to keep everyone up to date with the many exciting things happening over the weekend. If you see us there (we should be wearing some snazzy new t-shirts), stop and grab one of our freshly printed Zines!

Stay tuned to Hand Limit for more news and updates on Canterbury Gaming Convention!

Review: Citadels - A scheming city builder

We don't tend to worry about release dates when we do our reviews but we may be pushing things a bit with Citadels by Bruno Faidutti, released 25 years ago next month. 

Despite it's age, Citadels stands up as a great experience. We played a game with 7 players (it can accommodate up to 8 with the Dark Cities expansion), and although it was a long game it was a lot of fun. There is plenty of opportunity to interact with other players but the option is also there to just focus on building your own city, without meddling in other people's.

In Citadels, players take turns to gather gold and use it to pay for the construction of new districts to their city from the cards in their hand. Which is an incredibly straightforward premise. There is, however, a small twist to this. Each round, players draft cards that dictate what role they will play during the round. Roles include characters such as the Assassin, the Bishop, the King, and the Warlord. Each role remains hidden but acts in a set order, starting with the Assassin and ending with the Warlord (in a 2-7 player game), and each has their own unique ability that can be used to the benefit of the player or the detriment of others.

 

For instance, the Assassin can assassinate one character each turn, removing their ability to take a turn in that round. The target is chosen by the role, not the player, so there is a bit of social deduction involved if there is a particular player on you want to remove from the round. The Bishop gains extra gold for each religious district in a player's city, the King always chooses their character first at the start of the next round, and the Warlord can pay to destroy districts in other player's cities.

 

These layers of card drafting, hidden role, and social deduction add a great depth to a game that otherwise might be overly simplistic and allow for a lot of underhanded tactics around the table. We played the game with a higher player number, which I feel helped the flow of the game as we had a player for every character, with the exception of one character card each round which is left face down in the middle of the table to complicate the social deduction element. There is the potential that with a smaller number of players, the game would feel less characterful (pardon the pun).

However, with the larger number of players the game did take some time to get through. The end of the game is brought about by the first player able to build 8 separate districts, which can take some time with characters like the Warlord and Assassin in play. Another criticism, though only a very light one, is that the assassin does have the potential to remove a lot of fun from the game if a player is unlucky enough to be targeted multiple times. This is somewhat mitigated by the targeting of the character, which is hidden, rather than the specific player.

All in all, Citadels offers a smooth gameplay experience with some good player interaction and relatively little downtime. It certainly isn't showing its age and will definitely be brought back to our table again soon. 

Review: Book - They Came to Slay: The Queer Culture of D&D

"Queer nerds have always played at D&D tables and also worked in a professional capacity on and around the game."

So begins Thom James Carter's dive into the Queer Culture of Dungeons and Dragons.

Thom takes the role of Dungeon Master (DM) to take us through this brief history of D&D and the impact the game and queer culture have had on each other. It is a short read at just over 100 pages, but it is concise and contains some fascinating insights from queer D&D players and content creators. 

The book starts with a much needed potted history of Dungeons and Dragons, from it's inception by Dave Arneson and Gary Gygax, and Gygax and Don Kaye's creation of Tactical Studies Rules (TSR) in order to get its first iteration published, to the purchase of D&D by Wizards of the Coast, who retain ownership of the IP to this day. 

Thom moves on to take a look at D&D 5th Edition, commonly referred to as D&D 5e, and explores how the renewed accessibility of the streamlined rules made for an inclusive and nurturing space for players to explore things such as gender identity and sexuality. Thom focuses on the development of the game away from outdated concepts such as the strength penalty players would face if they chose to play as female. In the early editions it didn't matter what species or class you played as, if you chose to play as a female character you would automatically have a lower strength than male counterparts. This is not to mention the complete absence of the ability to play as non-binary or a-gender characters.

In 5e, Thom highlights, "the Player's Handbook and Basic Rules prompts the reader to acknowledge" that their characters can be queer. "The text asks the reader to interrogate who exactly they want their character to be".

Thom also draws on the inclusion of queer NPCs in official D&D texts such as The Curse of Strahd in making the case that the game in its current state is an inclusive and safe space for queer players and characters. 

"From a gameplay perspective, having queer NPCs can also help queer players feel more comfortable leaning into their queerness at the table - if there are others like them, even if they're NPCs played by the DM, they're no longer 'the only one'."

The character sheet alone, Thom asserts, can be a powerful, yet low-risk, tool in helping players explore queerness before any commitments are made in real life. Experimenting in such a way in the real world can be "outright dangerous or unpredictable in many places and spaces". Furthermore, Thom states that roleplay can provide players with a safeguarded way to dig deeper into who they are. He talks frequently about how the player can become the character, and in a similar fashion, the character can become the player. Through roleplay the lines between two people are blurred and it can increase our understanding of how it feels to be someone else. Perhaps someone we truly are or want to be.

Throughout the book, Thom writes in celebration of the queer joy that D&D, its content creators, and its homebrewers can bring to the world. His passion for the subject matter shines through and with it so does this joy. His writing is accessible and friendly, and the book hits all the right beats with impeccable pacing. The world could do with more writing of this quality about such an important topic. As Thom himself points out, "homophobia and transphobia are on the rise in the real world".

They Came to Slay does more than just extol the virtues of Dungeons & Dragons, however. Thom takes time to delve into the problematic elements of the official source material, new and old.

"We cannot talk about Dungeons & Dragons' incredible potential and myriad positives without talking about it in its entirety, warts and all... In any consideration of the queer culture of D&D, it's important to look at... how certain aspects of the official materials have been problematic for LGBTQIA+ D&D lovers".

Thom draws on examples such as the 1e (First Edition) "cursed" item, the "Girdle of Femininity/Masculinity" and the 5e adaptation of the "Tomb of Horrors", which both contain problematic themes of unconsensual gender/sex changes to characters (compounding the issue, gender and sex are used interchangeable in the core material).

This book is a must read for any fan of D&D, regardless of whether they are themselves a part of the LGBTQIA+ community. It is written with insight and passion, and manages to get into surprising depth within a very small page count. The use of interviews with queer content creators shows a strong level of research into the subject matter. I have now read this book twice and would happily read a longer book on the same subject.

Review: Pandemic Fall of Rome - All roads lead somewhere

By now it's hard to find someone in the board game hobby that hasn't had some experience of the Pandemic series of games. Be it the original, Legacy, The Cure, or Contagion, it's likely board gamers will have come across the series in some capacity.

Pandemic: Fall of Rome by Z-Man Games, designed by Matt Leacock and Paolo Mori, uses this Pandemic system to create a game all about the sacking of Rome by the barbarian hordes. The marriage of theme and mechanics is a match made in heaven as it produces a smooth, tactics-based experience that will please beginner hobbyists and seasoned veterans alike.

As with Pandemic, Fall of Rome is a cooperative experience in which players take the roles of key positions from the Roman Empire, each with their own unique abilities, to stem the flow of Anglo-Saxons, Goths, Vandals, and Huns and find peace for the empire.

Each player's turn takes the format of 4 actions, chosen from a list of shared actions and their unique character's ability, such as march (move), sail, recruit legions to help defend and attack, and form alliances. Following this the active player draws two cards from the player deck. These cards consist of city cards (as with Pandemic), bonus actions, and the dreaded revolt. Revolt cards cause a revolution to break out in a specified city, air-dropping a battalion of barbarians often deep into Roman territory. After this, barbarian cards are drawn equal to the current invasion level and the hordes progress along preset lines, making their way to Rome. The revolt cards cause the barbarian discard pile to be reshuffled back on top of the deck, making it more likely that places recently attacked will be attacked again. Much like with Pandemic, when there are already three cubes representing a single barbarian nation on a city space, and another needs to be added, the barbarians sack the city and spread to all neighbouring areas. 

In order to win, players must either completely clear the map of barbarians, or make peace treaties with each of the attacking armies within the time it takes to reach the bottom of the player deck, or before any army manages to reach and sack Rome. This is no small feat and our first game ended in failure, though we came tantalizingly close. Close enough to make me want to play again!

The process of making peace treaties with the various hordes relies on assembling hands of city cards matching the colour of the army that you wish to make peace with. This sounds simple but the mechanic that controls the trading of cards so one player can assemble the correct hand is particularly difficult. As with Pandemic, cards can only be swapped between players when they are both in the city that matches the card being traded. On a substantial map, this takes a great deal of planning and cooperation and each of the barbarian hordes requires a different number of cards to appease them.

Naturally, forming a peace treaty does not stop the armies advancing on Rome. Only when you have made peace and/or defeated every single horde is the game won.

The application of the proven Pandemic system to a tactical warfare game feels incredibly natural and there is a nice balance of needing to react to events as they unfold, and making tactical plans. Even on the most basic difficulty there is a real sense of danger in the massing hordes of enemies that makes every turn feel like it counts. The board is always satisfyingly full of colourful cubes and small legion markers so you really feel like you are holding enemies off from all sides.

A particularly satisfying mechanic was that of recruiting legions and leading them to battle. In order to keep the enemy at bay it is essential to erect forts around the map and use these to recruit legions that will not only stand guard against the advancing armies, but can be lead to other locations to fight. The battle mechanic relies on rolling a number of dice depending on how many legions you have with you (up to three) and the results will either remove legions, barbarians, a mixture of both, or activate one of your character's special abilities (which aren't always good!). It's a basic system, but rolling dice and removing cubes remains a satisfying experience.

The only downside I can record is in the special ability of the Barbarian Queen character (I think this is the name of the character). This ability is tremendously useful but relies on peace treaties being made with the various hordes. This is a challenge to achieve so leaves the player with the Barbarian Queen unable to use their special ability for a significant portion of the game.

As with most cooperative games, the rules allow for a solo experience, where the player takes command of multiple roles in order to defend Rome.

Fall of Rome is a fun game that for me stands out among the other Pandemic titles as a fresh experience but with a familiar mechanic that reduces the learning curve and allows new players to get into the real meat of the game as quickly as possible. As cooperative games go, I rate this one very highly. There is plenty of space for joint tactics but also individual decision making. If you've played any other Pandemic game you will feel right at home with this one. Likewise, if you have never played Pandemic, maybe the theme isn't for you, this is a relatively easy game to learn.

A Bright New Future for Gamelyn Games

Gamelyn Games, the publisher behind the Tiny Epic series, has been sold to Tycoon Games.

Michael Coe, co-founder of Gamelyn, posted yesterday on social media announcing the purchase.

"I'm sharing a monumental milestone: Gamelyn Games, Tiny Epic, and Heroes of Land, Air & Sea are now part of the incredible team at Tycoon Games".

Gamelyn Games was founded in 2011 by Brittany and Michael Coe with the aim of publishing Michael's first game, Lords, Ladies & Lizards. Their first success, however, came from the self-published and crowd funded, Dungeon Heroes in 2013. Also that year, Gamelyn successfully crowdfunded Fantasy Frontier.

The start of the Tiny Epic series came about the next year in 2014 with the publishing of Tiny Epic Kingdoms, designed by Scott Almes. This became their highest funded project to date and was quickly followed by Tiny Epic Defenders.

Since Tiny Epic Kingdoms, the Tiny Epic series has expanded to include exploring galaxies, surviving zombie outbreaks, raising baby dinosaurs, sailing as swashbuckling pirates, and so much more.

In 2020 Tiny Epic Pirates became Gamelyn's highest funded game at over $1.1 million, which was quickly followed by their first straight to retail game, a streamlined version of Tiny Epic Galaxies; Tiny Epic Galaxies BLAST OFF!

Coe wrote on the announcement of Gamelyn's sale that the Tiny Epic series has "become something far beyond what I ever imagined."

Gamelyn Games' mission was to create profound and unprecedented gaming experiences, and their vision was to develop Tiny Epic into the most well-known and respected series in all of board gaming. While that is certainly an ambitious vision, there is no doubt that the Tiny Epic series has had unparalleled success in condensing game genres famed for their complexity and size into surprisingly small and uniform boxes.

Tycoon Games, publisher of Everdell, was founded by Dan Yarrington with the core values to "Be Excellent", "Innovate Always", and "Care Deeply". They also donate extensively to good causes such as Toys for Tots, with over 450,000 games donated to kids and families.

We will wait to see in what new directions Tycoon Games plans to take the Gamelyn collection.

"Dan Yarrington... has been a trusted partner of Gamelyn's for over a decade, helping us fulfill campaigns and representing our games in distribution in the early years. He understands Tiny Epic deeply, and I know the series is in wonderful hands."

Coe confirmed in his statement that Scott Almes will be staying on as designer of the Tiny Epic series.

"The best is yet to come."

 

 

Dungeons & Dragons and Drinking

On 1st August this year I will be one year sober, and while a lot of my own hard work has gone into this achievement, I also recognise the role table top gaming has played in helping me make the change.

I was once a prolific drinker and even more so at social gatherings. Having a drink while playing TTRPGs seemed like the most natural thing to me. Alcohol is a social lubricant, and in a situation where you were required to lower inhibitions and get into character, or many characters if you are the GM, drinking felt like the obvious choice. For a long time I felt like having a drink, or several, while playing, kept me loose and relaxed. It made me feel like I was better at getting into the flow of the game and unleashed my creative side on the fly when responding to the actions of the player characters.

I used to pair my drinks with the games I was playing, not just TTRPGs but board games too. A glass of wine for Horrified, a strong grog with Pirate Borg, and a pint of foaming ale with Dungeons & Dragons. Each game seemed to offer an opportunity to have a drink. Table top gaming was a relaxing pastime so why not share it with a relaxing drink?

I have always had a difficult relationship with drinking and have struggled to keep things in moderation. I always used to say that drinking was thirsty work. One drink would lead to the next and while I was happy and enjoying myself, through gaming I slowly started to realise that my drinking was more of a problem than I realised.

I have discussed before the importance of GMs to take time to decompress after TTRPG sessions, even if they are fairly relaxed. On top of this, there is always something to be gained from seeking some reassurance from your players that they had enjoyed what you had planned. However, when I was drinking, regardless of how much fun was had during the session, I had trouble decompressing and trusting the feedback I was being given from my players. My decompression time would become a spiral of negative emotions as I doubted any evidence before me that I had been entertaining enough. I focused on any and all negative points that my brain could give me. The session was too boring, or I was too intense (usually as a result of my drinking). I found the time I needed to decompress and adjust back to normal life increased the more I had been drinking. Sometimes days would pass and I would still not feel like I had entirely processed the experience.

This emotional hangover was difficult to deal with, often on top of your more traditional hangover. Of course, with hindsight I realise that the solution was simple, but at the time I internalised a lot of the emotions I was struggling with. The extended periods of recovery I needed after each session had me believing that I was not a good GM, that my players were just humouring me, that I should hand over the reigns to someone else. Despite all this I still was unable to come to the conclusion that drinking and DMing was affecting the whole experience for me in massively negative ways.

In the end, however, it was GMing that helped me recognise that my problem was not with the game, or my abilities, but with my drinking. I was getting too generous with magical items for my players and not remembering who I had given what. I was handing out game-breaking spells and magical artifacts that were completely throwing planned encounters. While I don't mind that my players probably enjoyed these boons, it made things very difficult in an almost entirely home-brewed world when I could barely remember what had happened each session. It really made me feel like I could be offering my players a much better experience if I avoided drinking while playing.

There are few better examples than that which transpired recently during a game of Pirate Borg we experienced a character death at the hands of a Sentient Fungus. The killing blow was made and the table fell silent as it became clear that there was no coming back from this for Luca the Zealot, the team's Glass Cannon. It was a truly sobering moment, which was only stopped when Luca played his Charon's Obol allowing him to return to life with 1HP. What troubled me was that I had absolutely no memory of awarding him this relic. The player informed me that I had handed it out many sessions ago when I had been drinking.

Don't get me wrong, it was still a fantastic moment of collaborative story-telling, but it really highlighted to me how much of a problem it was for me to not be remembering our sessions, or even to take notes. This all took place after I had quit drinking but stayed with me as a reminder that I was a better GM now that I had stopped. Drinking was making me sloppy.

Tabletop games didn't just help me realise that I had a problem with drinking, they helped me readjust my life to accommodate my sobriety. Gaming sessions began to revolve around coffee and cake rather than drinking, and our regular meet ups at Fruitworks Coffee Shop became a staple of my week. I found my life shifting away from the pub and towards bright, open cafes instead. Where I used to use alcohol as a social lubricant, table top games began to provide me with the relaxed atmosphere and aid to meet new people. 

During the week when I wasn't able to play with a group, I invested more time into solo board games as a means of unwinding and relaxing, rather than pouring myself a drink. The almost meditative nature of solo gaming was a cornerstone of my mental wellbeing. Through playing games I was able to enter a flow-state where I was completely unconcerned by the outside world and my inner demons. They gave me a rest from thoughts of drinking, as the structure and puzzle-like element of these games kept my mind satisfyingly occupied. 

It has been a journey for me but looking back I can really appreciate the role that table top gaming has played in helping me reach sobriety and providing me with a safe space to continue. This is a personal story for me and I am not using it as a way of saying others should do the same. Drinking is not inherently evil, and most people will never experience the same problems as I did. I just wanted to share my experiences so that if anyone happens to find themselves in a similar position to me, they might gain some encouragement to make the necessary changes.