Games on Location: Episode 3 - The Bloody Inn

Episode 3 of Games on Location is taking a morbid turn with Nicolas Robert's The Bloody Inn, published by Pearl Games. With Spooky Season fast approaching, where better to play a game of murder and robbery than one of Canterbury's oldest pubs with a dark local legend?

The Bishops Finger, dating back to the 16th Century, "stands out as one of Canterbury's most distinctive historical pubs." So states the website. "Whether you're looking for an exciting venue showing the football, or a cosy local to enjoy a romantic meal in, Bishops Finger is your pub."

What this introduction doesn't mention is the mysterious story of Ellen Blean, who local legend says haunts the pub and the nearby streets. It is said that Ellen Blean, wife to a local canon (some versions of the legend have her as his housekeeper but the blurring of lines between housekeeper and wife is a subject for another blog post), discovered that her husband was having an affair. To take her revenge she poisoned the canon and his lover with a meat pie. This is far from the most haunting part of the tale. Legend has it that Ellen disappeared after the murder only to be discovered shortly afterwards, walled up at a house nearby called Dark Entry, where she had evidently been buried alive. Locals state that every Friday night her ghost wanders the street and then manifests in the bar of The Bishops Finger, appearing as a plain faced, large woman in a long, wide skirt and mobcap.

So with this story fresh in our minds, we headed out to the pub to play a game of The Bloody Inn, in which players play as 18th Century tavern owners looking to make their fortune by murdering and robbing their unfortunate guests. 

"Whether or not their plan will work out, one thing is certain: Not every guest will leave this inn alive..."

The game, for 1-4 players, is stunningly simple with a high bar for strategy. Each round, players will get two turns to complete actions. These include, murder, bribery, burying a corpse, or laundering money. All fittingly dark actions for a morbid game such as this. Over the course of two seasons, any guests left alive during the first season will foolishly return during the next, giving players the opportunity to get that large paycheck they missed the first time around. Honestly, the game brings out the darkness in all of us.

The first player fills the inn, allocating guests to rooms, each of which is owned by a particular player. If a guest in a player's room survives the night they pay a small fee, so there is incentive to keep certain guests alive. Players then take it in turns to decide what they are going to do and weigh up how they're going to get away with it.

All actions are paid for with guest cards, that when in a player's hand are known as accomplices. Accomplices are obtain through bribery, which itself is paid for with guest cards. There is a constant balancing act of keeping enough accomplices in hand to be able to pay for each murder and body disposal, while not having too many that they cost too much money at the end of each round.

Murders must also be well timed, as if a law-enforcement card comes a-calling, and is still alive in the morning, they will be alerted to any dead bodies cluttering up the inn and the cost for disposal becomes crippling.

Bodies can only be looted and disposed off by building annexes to your inn and burying them beneath the buildings. This is costly in itself and it is easy to become stuck in a loop of murder without being able to dispose of the bodies. Another law enforcer turns up? Sometimes you just have to kill him to avoid him discovering the bodies. But then you have another body on your hands and nowhere to store it. In a grim way, it's very funny.

In many ways this is a tableau builder, as you construct buildings in front of you and gradually slide corpses beneath the cards. In other ways the game plays like a card drafter as you aim to get the guests who are most useful to you (each guest has a speciality that means they can be used multiple times for certain actions) and maximise their potential in your grim work. The game achieves both very well and it feels like a neat and concise experience. There's not an inch of fat on it, which translates to a smooth and intuitive game.

You've got to love a game where a player can say quite casually, "He's worth more money to you dead." It's quite thrilling to play as the bad guys for once.

At set up there is the option to play a shorter game, but in all honesty, it's worth opting for the longer version. The longer play time allows you to rack up more victims and it's fun at the end of the game to look back on your legacy of blood and murder. 

This game is perfect for a spooky games night with friends but also offers a solo experience, where you're looking to accumulate enough money to rank from Troubling Innkeeper to Demonic Innkeeper, without having any bodies remaining at the end of the game.

It would be remiss of us to not include some praise for the artwork by Weberson Santiago. The stricking graphical style really captures the dark and bloody nature of the game. I can't quite put my finger on what the box art puts me in mind of but it's something from my childhood, something that used to give me the creeps.

We hugely enjoyed this and agreed that it has the potential to become one of our regular games, especially as nights draw in and shadows grow large in the dark months of the year. 

Sadly we didn't experience any hauntings while we played at The Bishops Finger but it provided the perfect backdrop to a game as dark as this.

Review: Daybreak - Avert Climate Catastrophe

 

"Daybreak is set in a fictional world in which all the world's major powers agree that climate change is fact."

This is how Daybreak was first introduced to me when I got to play it at a recent Gaming The System evening. It's easy to then think that's the hard part over and done with, but oh boy does Daybreak still manage to throw up a juicy challenge.

Designed by table top heavy weight Matt Leacock (Pandemic, Forbidden Island, and many others) and Matteo Menapace, in Daybreak 1-4 players take the roles of dominant world powers such as the USA, China, Europe, and somewhat confusingly, the rest of the world, in an attempt to reverse the course of climate change to avert catastrophe.

This is achieved by drawing cards to create a tableau in front of you that acts as an engine to reduce the carbon footprint of your nation, while keeping up with the energy demands by switching to green energy. This is only half of the challenge, however, as you will also need to invest in carbon capture strategies to ensure that any carbon that is released is captured before it can build up and create serious problems down the line.

Aside from working on your own tableau/engine, known as local projects, you can also work together to attempt to achieve global projects at the cost of cards. These global projects are powerful buffs that can help your local projects achieve their aims. For example, in the game we played, one of the global projects we invested in allowed us to double the clean energy output from any nuclear power plants in our tableau. Each round, the energy demands on your nation increases by a set amount so having a reliable source of green energy is very important.

The game is played over 6 rounds in which crisis cards are added to the map, global projects are started, then players complete local projects by drawing and placing cards, emissions are then added to the map board based on each players current carbon footprint, which are then either absorbed through the carbon capture initiatives or go into the thermometer track, gradually raising the temperature of the planet and increasing the number of crisis cards drawn each turn. Following all this any unresolved crisis cards are resolved. These crisis cards have devastating effects on the players' nations and can cause community crises, which if left to build up can cost the game.  Much like the global initiatives, players can sacrifice cards to combat the crisis cards in an attempt to mitigate the impending disasters.

As cooperative games go, this game is highly cooperative. While each player has their own nation to worry about and their own engine to build, without sufficient communication and teamwork, the state of the global map can quickly go from bad to worse, which, incidentally is what happened to us. Those crisis cards are no joke and it's easy to forget about them while trying to shift your nation from dirty to clean energy while keeping up with the ever increasing demand.

Aside from the general structure of each round, there is no turn order when it comes to the main part of the game, in which players draw cards and decide whether to invest them in local initiatives, global initiatives, or use them to counter the disasters on the horizon. This creates a perfect forum for discussion, debate, and collaboration in which players really feel like world leaders sat around a table trying to work together to solve a problem. Each card is played with consideration as to how it can not only help you home nation but also the goals of the wider world (at least that's how it's supposed to work, I must confess I spent most of my cards rather selfishly on my local projects to the detriment of the global issues. But, hey, I know for next time).

Despite it's difficulty, this is a tremendously optimistic game that allows us to imagine a future in which world leaders can work together for the good of the planet. While challenging, the solution is always within sight. The game exudes the belief that with a few smart decisions and enough cooperation, we can find out way out of the present climate crises we find ourselves in. This optimism is evident in the colourful, uplifting art style that speaks of a bright future rather than the dingy, polluted present. Each card is carefully illustrated with bold colours and clear lines. On the whole the game is a joy to look at. Even the name, Daybreak, inspires visions of a utopian future.

As an excellent touch, each card contains a QR code (kids love QR codes) which can be scanned to learn more about the local projects they represent, such as Dirty Electricity Phase Out or Climate Debt Reparations. Everything about this game feels like it is trying to educate about the environment with the hope of instigating change, rather than succumbing to the bleak misery that is all too easy to fall into when viewing the world today.

Despite all this optimism, though, we cannot ignore the point I made at the beginning of this review. In Daybreak it feels as though the hard part has already been done. This is a present in which we've already achieved the fantastical in getting world leaders to cooperate and communicate. The game makes the statement that if we can just manage this, then a solution is in sight, but this is a a tremendously big If.

Overall, Daybreak is a joy to play and I look forward to getting to play it again. It strikes a good balance of being almost overwhelming while also dangling the carrot of success in front of you each round. I often find games that have no specific turn order can feel somewhat disorganised and chaotic but it avoids this and really does allow space for effective cooperative play. The game marries the mechanics and theme very well to create an intuitive and enjoyable experience that offers a satisfying challenge. 

While I wouldn't recommend this game to those very new to the hobby, it is definitely one of the more accessible games to tackle a Big Issue like climate change, so if you want something to really get your teeth into with a terrific message, look no further than Daybreak.

If you are interested in joining in with Gaming the System, they meet twice a month at The Long Rest in Canterbury from 18:30 to 21:30 every 2nd and 4th Wednesday of the month. Gaming the System are a group interested in how board games can improve our understanding of the inequalities in the world and what we might do about them. They play games that challenge our understanding, help us to cooperate, and point towards new ways of dealing with the world. All the games available at their events are considered political (with a lower case p) in that they demonstrate certain morals and values and can open up wider political discussion.

Review: Dungeons & Dragons Horrified

I've been a fan of the Horrified series since the first edition, which comprised of the classic Universal Studios monsters. From that first game, the colour palette, theme, and pick-up-and-deliver mechanics held me enraptured. There was a simple beauty to the game play and everything about it was a love letter to those classic horror movies that inspired it.

Since that first edition we've seen a tremendous outing with Horrified: American Monsters, focusing on North American cryptids such as mothman, big foot, and the jersey devil. We've also had the legendary Greek Monsters, which featured monsters from classic Greek mythology. Both of these titles expanded on the original theme with larger maps and mechanics that kept the game fresh and interesting, more than just a re-skin of the original.

Following this, Ravensburger, released Horrified: World of Monsters, which if I'm totally honest didn't hit the same mark as it's predecessors. The steam punk aesthetic was interesting but less refined that the previous three titles, and the assets included felt cheaper (the cards felt much thinner and flimsier than the original). Furthermore, the monsters that were chosen for inclusion felt disjointed. Fascinating monsters from real world folklore were lumped with Cthulhu (the Cthulhu mythos could easily have supported it's own game, not to mention the monsters from folklore from around the world). There was no cohesion here, and it was explained away with some half-hearted text about rifts between worlds. Generally, World of Monsters felt like a misstep in the series.

Those negatives aside, we at Hand Limit still get World of Monsters to the table and it still offers a rewarding challenge. There was, however, some trepidation that there were signs of the franchise going stale. Could the Horrified formula continue to provide enough material to keep it relevant?

It was with great excitement that we learned the next title in the series would be Dungeons & Dragons. There is already so much material in existence from the world of D&D that it seemed like the perfect way for Horrified to bring in some fresh blood.

The game arrived at Hand Limit HQ at the beginning of August and it has taken us a couple of weeks to get it to the table but when we finally did we were so happy to see the results of this match-up.

At it's core D&D Horrified is a return to the classic formula. The gameplay is smooth and well executed, and the rules are easy to learn for those less experienced in board gaming. 1 to 5 players take the roles of heroes looking to rid the land of troublesome monsters by completing various mini-games and challenges. On a turn a player gets a set number of actions to advance their objectives then they flip a card from the monster deck and complete the monster actions as described. When players or the sporadic civilians who turn up on the board are knocked out during monster attacks the terror marker moves along the terror track. Should this ever reach the final point on the track, the heroes have failed and the monsters overrun the town. Likewise, if the monster deck is ever depleted, the heroes have run out of time and fail.

As with most cooperative games there are multiple ways of losing but only one way to win, defeat all the monsters before your time runs out. D&D Horrified introduces 4 new monsters to the series; mimic, displacer beast, beholder, and the fearsome red dragon. All classic and recognisable monsters of the IP.

Dungeons & Dragons Horrified introduces some interesting new mechanics that helps keep things interesting. Most notably is the inclusion of a D20 in the set. In other titles of the series, characters have special actions unique to them, in this latest title each character has a number of special actions that are determined using a D20 roll. While this makes it harder to plan for these special abilities, it does add an element of the luck of the roll, which feels very in keeping with the D&D theme. On top of this, many of the monster mini-games involve rolling a D20. In the game we played (displacer beast and beholder) we found battling the beholder a lot of fun as it involves rolling the D20 and disabling it's eye-stalks depending on what you roll. This effectively captured the classic feel of D&D while staying in the realm of Horrified.

The map itself is the most adventurous yet with the inclusion of teleportation portals that link sections of the map in ways that made strategising feeling more akin to 4-dimensional chess. Not to mention the artwork on the board, which has definitely found its footing since the slightly ill-defined aesthetic of World of Monsters. The high quality artwork associated with Wizards of the Coast is evident throughout the game, with perk cards made to look like tarot, monster cards featuring some impressive monster artwork (the green and purple beholder is a particular favourite of mine), and some lovely character art on the character boards.

The characters for the game once again feature staples of the genre. The Cleric, The Wizard, The Rogue, The Fighter, and The Bard, are all playable characters with their own selection of unique abilities. My main criticism of this version of the game is that there are only those 5 characters to choose from. In earlier editions of Horrified, some of the joy was finding synergies between different characters and assembling a new team for each session in an attempt to find the match ups that worked. As the game accommodates up to 5 players it feels as though Ravensburger have tried to get away with giving us the minimum it can possibly give. Only 5 characters, and only 4 monsters, feels stingy and will certainly impact the replayability of the edition. 

That being said, we found nothing has been lost in terms of the challenge. When it comes to cooperative games, we always say that we don't feel we've got our money's worth unless we've lost more times than we've won, and in this respect D&D Horrified didn't disappoint. The displacer beast and beholder comfortably wiped the floor with us.

Overall, this is a strong contender for a place in the top 2 Horrified titles (Universal and American Monsters - the exact placement of these is still to be determined). Does it quite outpace American Monsters? It's possibly too early to tell, but it is a solid contender. The theme is incorporated well, the monsters feel original to the series, and there is enough here to keep the series feeling fresh and original. This is a fun title for those experienced and in-experienced in D&D and is definitely worth a play if you enjoy cooperative games and the Horrified series.

Board Games as Art and Culture

Introduction

For over 5000 years board games have been enjoyed by humans. The earliest known board game is Senet, of which evidence has been found linking back to 3500 BC. In recent years we have seen the industry explode like never before as hobby gaming moved closer to a mainstream pursuit. Games are no longer abstract like dice and chequers, and they are no longer limited to the realms of family or child-friendly entertainment. Games such as Daybreak exist, covering real-world problems like climate change and global warming. Molly House explores the themes of the underground LGBTQ+ culture in Victorian London. Spirit Island and others are starting to flip the script on traditional colonialist themes, reflecting more modern perceptions on imperialism and historical conquests.

For those who are in the hobby it feels as though there is little doubt that games are cultural artifacts and could even be considered their own art form. Yet is it fair to say that alongside high-end television, film, and literature, games are too often overlooked when consideration is given to artistic forms of expression?

A central belief of Hand Limit is that board games are more than just cultural assets, they are an art form. Looking beyond the graphical representation of art on the boxes and boards, board games convey meaning that the designer (read: artist) wishes to convey, and the player (read: audience) brings their own perspective to. This creates the same interaction found between author and reader, or director and audience. On one side you have the intent for meaning, and on the other you have the interpretation.
Of course, not all board games can be considered Art (with a capital A), in the same way that not every blob of paint on canvas can be considered Art. However, there must be an understanding that painting onto canvas is still an art form, even if the end product is not considered worthy of being considered Art. All board games are designed using the same art form, even if the end product is not deemed Art. 
All board games are cultural assets, the same as all television shows are, but not all board games are Art. What I have been considering is the potential that exists for art to be made through the medium of games. What I am hoping to achieve in this article is a succinct argument for table top games to be considered as legitimate forms of art and undeniable cultural artifacts.

Games as Cultural Artifacts

Tabletop games as a form of cultural artifact may seem like a fairly obvious statement to make. For almost as long as there has been civilisation, people have been sitting together to engage in recreational games. These games may have started out as abstract games like Go and Senet but as cultures have transformed, so have the games we play. 

Writing for Tabletop Games Blog, Oliver Kinne uses the German word Kulturgut, which describes items that have cultural value and therefore must be preserved. An example of Kulturgut would be literature. A British person, Kinne writes, "can easily see how the works of Shakespeare have a cultural value and require to be preserved. Yet, when it comes to [tabletop games], people don't necessarily think of modern board games as Kulturgut."

Kinne goes on to say that the Spiel des Jahres association is trying to bring tabletop games more into the limelight of the culturally important. The primary strength of this endeavor is the argument that table top games are no longer just for children. There are many modern games that cover real world issues and even attempt to tackle difficult subjects. Let's not forget the boom in popularity that the Pandemic series saw during the Covid-19 global pandemic. More recently we have seen games such as Molly House and John Company, both published by Wehrlegig Games, tackling historical events of huge social importance.

Games, like other forms of cultural assets such as films, reflect a certain cultural zeitgeist. Particularly the bestsellers, they can be seen as the embodiment of a trend or fashion of their time. We can see this in the rise in popularity of Legacy games, first popularised by Risk Legacy in 2011. Now there are many Legacy titles from some of the biggest names in the tabletop industry, from Pandemic to Ticket to Ride. The increase in games that use this long-form play style that reveals a narrative over consecutive plays, shows that as board games increased in popularity, people also craved this new narrative style and commitment to multiple play sessions with the same group of people. As a cultural artifacts, these games show us how tastes in entertainment have changed in recent years and in a wider context it reveals that people are more committed to the act of play in their spare time.

Furthermore, we can take a look at the actual subject of games to see a cultural shift. Board games have a long history of exploring the theme of colonialism, and not always in a culturally aware way. Writing about Catan for The Conversation, Biz Nijdam, Assistant Professor for the Department of Central, Eastern, and Northern European Studies at the University of British Columbia, writes "games that incorporate colonial histories and strategies into their narratives or game mechanic normalize these discourses through their status as a popular pastime".

Nijdam states that "since 1995, board games have continued to include themes of settler colonialism". Several of these games have even gone so far as to include Indigenous populations during and following their first contact with colonial powers.

"These features often merge or misrepresent Indigenous cultures and traditions in problematic ways... These games seek to create a compelling story at the expense of Indigenous traditional knowledge and contemporary lived experience."

 However, Nijdam highlights games developed by Indigenous designers and board game enthusiasts that introduce "counter discourses". We also have games such as Spirit Island from 2017 that actively seek to demonize the act of settler colonialism, with players taking the roles of mystical spirits bent on repelling the destructive invaders.

While there is still a long way to go in combating the reoccurring theme of destructive colonialism, particularly in instances where the native populations are portrayed as nothing but compliant wooden pieces on a cardboard board, games that show a shift away from this reveal a changing cultural awareness. In this way, board games are a fascinating cultural touchstone that show how tastes and values change in society.

Board Games as Art

Playing with Design: Gameboards, Art, and Culture is an art exhibition currently showing at the American Folk Art Museum in New York until 13th September (I wish I could have gone to that one). The show takes a close look at handmade boards from the United States between the mid 18th and early 19th centuries, with thematic sections exploring what these playful objects reveal about American culture, history, design and craftsmanship. The exhibition promises more than 100 boards including early examples of classic games of Parcheesi, checkers, and chess, as well as hand-painted examples of Monopoly and Chutes and Ladders (Snakes and Ladders for the UK audience). 

The American Folk Art Museum website advertises that the exhibition explores the shift toward modernism at the turn of the twentieth century, with some pieces giving shape to historical ideals, including morality, religion, patriotism, entrepreneurship and imagination.

There is perpetually a question of what is considered Art but one sure fire way of knowing is whether an art gallery or museum has an entire exhibition centered around it. Is this enough, however? As most objects, given a sufficient span of time could find their way into an art museum in some way. These objects on display are art because they speak of the cultural fabric at the time of their creation and how this contrasts with the modern day. What does this mean for board games in our current era? Are they only to be considered art once an historian is able to look back at them? Can the artistic merit of a board game go beyond the cover art?

In order to explore this we need to scratch a little deeper into what art actually is (don't worry, I will keep it brief). 

Art is our ability to express our thoughts, emotions, intuitions, and desires, writes Joseph Nieters contributing to Philosophynow.org's Question of the Month. But it runs deeper than this, in a more personal way, art is how we communicate our own unique experiences and perceptions of the world around us.

Here we meet the problem that not every painting is considered Art (with a capital A), but it remains the product of an artistic practice. The content instilled in the medium we choose is not inherently art, but the way in which that medium is used and the content expressed to others could be considered Art.

I think this neatly captures a definition of art that goes beyond the simple dictionary definition:

Art

noun

1. the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.

Even taking this vanilla definition of art we are faced with the problem that table top games are arguably not appreciated for their beauty or emotional power. In fact I own at least one game that I would struggle to describe as beautiful (no I shall not say the exact one I'm thinking of because despite it's aesthetic shortcomings, I still love it dearly). It might be argued that games are designed primarily to be enjoyed as an entertaining diversion. However, I will return to this later.

At their most enjoyable, table top games become an act of collaborative storytelling. This is perhaps more noticeable in more thematic games, rather than abstract ones, but the story remains. With abstract games such as checkers or chess it falls to the individual taking part to assert their own imaginative narrative to the pieces in play, whereas the narrative of a game such as Horrified is right there on the box for all to see and agree on.

"Storytelling is the core of art". Or so says the Arete Gallery website. "The art of storytelling goes beyond just painting a picture or sculpting a form. It involves a deliberate effort to create a narrative that speaks to the human experience. Storytelling gives the artwork context, purpose, and meaning, which is what makes it relatable and impactful."

So going beyond the simple aesthetics of a game, we come to the core of what makes play great; telling a story. This, I believe, is the nugget of gold at the center of every well designed game. It taps into the human desire to tell stories, a desire that has been with us since the dawn of time. Storytelling creates a powerful connection between the storyteller and the audience, and when this is a collaborative tale, it creates strong bonds with everyone around the table.

"Story telling captures a moment in time", the Arete Gallery goes on to write. "It involves a conscious effort to create a visual narrative that freezes a particular moment in time, allowing the audience to experience it in a unique way". Therefore, when games designers put together their story, be it about agricultural practices, hunting North American cryptids, or murdering people in an 18th century French tavern, they are capturing a moment in time that can then be experienced by people around the world in their own unique way.

Moving beyond the idea that playing table top games is storytelling, and that storytelling is art, I was recently watching the Shut Up & Sit Down review of John Company Second Edition. In this video essay (it beautifully goes beyond a standard review) Tom Brewster discusses the thorny topic of John Company. Namely, the practices of the dreaded East India Trading Company. In this game the players must take the role of company directors and earn money through the many devastating and exploitative ways that are widely historically recorded. 

At face value, this topic is a big risk to be translated into the format of a board game, something that people are supposed to enjoy, laugh about, play. However, the designers of the game face this head on and make it clear that before anyone is invited to play, they must first consent to participate in the reenactment of the murder and exploitation of native people across the globe. This game, Tom Brewster, argues, is closer to performance art. It encourages people to engage in an immersive experience in which they must endure the discomfort of committing atrocities in the name of profit. In doing so, John Company uses the absurdity of play to satirise the historical power and highlight the extreme violence and manipulation that unchecked capitalism caused.

(If you've not watched the video yet, I highly recommend pausing your reading and watching it now. Or watch it after. The internet isn't going anywhere. In the video, Tom also discusses the Ad Reinhardt cartoon, How to Look at Abstract Art, which also perfectly encapsulates how board games can be considered art, provided the viewer brings the right understanding or representation to the table.)

All this considered, I believe that on many faces, board games can and should be considered art in ways that goes beyond their graphic design. 

A Case Against

Arguing that something is art is all well and good but we must also consider the antithesis. What makes something not art? 

David Dennan, Assistant Professor of Applied English at Chihlee University of Technology, makes a compelling argument that games are not, by and large, art. In his article he mainly discusses video games in relation to his theory, but early on makes that case that video games are in the same category as "Monopoly or poker, not Picasso's "Guernica" or Beethoven's Fifth Symphony." As such I feel it entirely appropriate to use his argument to apply to board and table top games.

"Videogames are games, and games are not a subcategory of art."

Dennan argues that while games may utilise aspects of art, such as graphics or music, this does not equate to making them art. But where does Dennan base this assertion that games cannot, and should not, be considered art?

Firstly, Dennan makes the case that in deciding whether something is art we must look at it from two perspectives; from the point of view of the creator, and the point of view of the user. "What was the person's intention in making it, and how do people actually use it?" He argues that art is something that its creator makes purely to be "apprehended from within what [he's] going to call the aesthetic attitude." Therefore, art is anything that the user apprehends from this "aesthetic attitude". 

The aesthetic attitude, Dennan explains, is to treat something as an experience in and of itself. This is in contrast to the "practical attitude... which treats objects as a means beyond themselves." As a result of this use of the definition, art is something made to be experienced as art, and is subsequently experienced thus by its audience. Should either ends of this transaction fall down, the object in question would cease to be art. 

But, I hear you ask, what if the designer of a board game has the intention of making it as art, and the user on the other end experiences it as an artistic artifact? Well to start with Dennan argues that we must consider how an object is typically used, rather than on a case by case basis. "Virtually anything else in existence, can be aestheticaly appreciated". However, the reason we don't call every shoe, or pile of leaves, art is because they are typically not created to be art. They are created to serve a practical purpose.

Secondly, Dennan raises the point that games are made not with the aesthetic attitude, but with what he calls the "ludic" attitude. Meaning that the game has a "goal and more-or-less explicit rules about how that goal can be achieved."

"The ludic attitude and the aesthetic attitude are mutually exclusive."

Dennan does make the case that the ludic and aesthetic attitudes do have something in common, which is the reason they are often confused. Both attitudes are distinct from, and opposed to, the practical attitude. Neither games nor art are directly related to survival.

The argument that games are not art is summed up by Dennan by stating that "Art is about a protected form of experience accompanied by a minimum of action. Games... are about a protected form of action accompanied by a fairly limited range of experience." 

Ultimately, Dennan argues that the ludic attitude and aesthetic attitude are too opposed to find sufficient commonality to allow for a cross over. That is not to say that he does not value games as important cultural assets. He makes it quite clear in his article that in order for them to be considered important to our lives, they don't need to be considered art. He suggests that the desire for games to be considered art is the product of academics in the field wanting their subject to be considered with more importance.

Conclusion

David Dennan uses comparison in his article that "when the average person thinks of art they think of a painter like Rembrant  [sic.] or a work like the "Mona Lisa". When the average person thinks of games they're apt to think of Candyland or tag or Super Mario Bros." The issue I have with this is that Dennan has chosen a poor comparison. Just as not all art is made the same, neither are all games. I think it would be fair to say that this comparison works the same as if I were to compare, say, Will Smith and Mozart. Both are musicians, music is a widely regarded form of art, but you'd think there was something wrong with me if I labelled them intellectual equals. Maybe Candyland isn't on the same level as the Mona Lisa, but you can't take the worst of one discipline and compare it to the best of another, to claim that the two disciplines are not alike.

The idea that something cannot be considered art because it is not typically made to be art, I feel is a narrow point of view that fails to grasp the breadth of artistic endeavor. Furthermore, the use of the ludic attitude to describe that games have a specific goal and rules in which they must be appreciated, I feel is short sighted. I would argue that all art has a specific goal and rules on how they are to be engaged with. These goals may not be written in a rulebook but when curating exhibitions, galleries are creating strict environments and boundaries in how the art is to be perceived and used by the audience. Guides and plaques offer the viewer insight into the artist's process and what they were hoping to convey with each piece of art. These indicate that even the aesthetic attitude has rules and a goal, even if they are often unspoken. A work of art, say a banana taped to a gallery wall, loses context and shifts meaning if it were to be taken out into the middle of the woods, for example. In order for the art to convey the intended meaning, it must be placed and viewed in the way the artist intended.

I think much of Dennan's argument comes undone when considering the space for immersive and performance art. My "real world" job brings me into contact with a lot of immersive art exhibitions using digital technology, and these are more akin to games than I feel Dennan realises. These are experiences that rely on audience interaction and participation in order to operate. As such they come with more explicit rules than the average exhibition. As advanced immersive technologies continue to find their place in artistic spaces, we are seeing a blurring of the lines between the ludic and the aesthetic attitudes. They are not as mutually exclusive as they may appear. If we view games as immersive art, even with the concession that we are aiming to achieve a goal within set boundaries, we can begin to recognise that board and table top games can be considered works of art. This of course, comes down to the intention of the creator and the user, but as with Ad Reinhardt's cartoon mentioned above, this is a two way street.

Robustly considered, board games are unarguably cultural artifacts that carry an imprint of the desires, morals, and attitudes of the time in which they were created. Sometimes these attitudes are placed in reference to an historical setting, such as Molly House or John Company, to satirise the events or educate the players. Furthermore, if all that defines art is the intent of production and the intent of the user, I feel that board games can and should be considered a form of art in the same way that literature is. Is every book art? Not by a long-shot. The same can be said of table top games, but I strongly believe that board games, and table top games as a whole, have the capacity to be a form of immersive artistic experience. 

Zombicide: Undead or Alive - As good as fluoxetine?

 

When it comes to matter of mental health, I believe that table top games can be a tremendous force for good. Will they completely fix any problems a person might have? Absolutely not, but if engaged with properly, they can be a powerful tool that can help people reconnect with each other and themselves.

When I first got into the hobby I found that playing board games really helped me achieve what those in the mindfulness industry call the "flow state"; a meditative state in which someone is focused on an activity and negative thoughts fade away. When in this flow state it's not uncommon for the individual to be unaware of the passage of time, so absorbed are they with the task they are undertaking. Meditation is a great way to achieve this, but that requires much practice and discipline. Board games are far easier to access, an let's face it, more fun to indulge in.

I am very open about my own lifetime of mental health struggles, and was formally (finally) diagnosed with Bipolar Type 2 back in 2024. This diagnosis changed my life. Not only was I able to access to support and medication that I needed, but so much of my life that I struggled to understand suddenly made a lot more sense. Thanks to the work of the medical professionals who helped me, I now feel what many would consider "normal", which is still a novel experience for me.

No amount of counselling or medication will ever make my bipolar disorder go away, however, and it is still a daily task for me to stay on top of my own mental health. Some days are easier than others and I am grateful for every good day that I have. As you can imagine, table top games are a frequently relied upon weapon in my arsenal. 

Recently I have been feeling another turn in the never ending cycle of my mood, which often hits at the changing of the seasons, and it's been feeling increasingly autumnal recently. I love the autumn but as the nights start drawing in and the weather turns ever more grey, I find my ever present depression does the same. It might be a shadow of it's former self, thanks to my brain medicine, but it can still take a few days or a week for me to move past.

The other day I was feeling particularly low and also spending the day by myself so I decided to turn to a session of solo-gaming to keep me occupied. Initially I pulled out Cartographers: Heroes, which is a fun and fairly simple flip-and-write in which you reveal cards and fill out spaces on a map based on the shape and land-type shown. Think Tetris but you're constructing a map and scoring points based on the configurations you put together.

It's a fun game and as a solo experience it was fairly meditative, but it wasn't doing the job I needed it to. I was going through the motions, and for want of a better word, I was enjoying myself but it wasn't pulling me out of the brain fog. It was a distraction while I played it but I was far from that flow state I desired.

After some lunch (noodles, my comfort food), I decided to clear the kitchen table and bring out the big guns, Zombicide: Undead or Alive. This game comes in a reassuringly weighty box, packed tightly with miniatures, cards, and tokens. I brewed some coffee as I slowly set up the next scenario in the booklet, laid out all the character boards, reviewed my objectives, and then got stuck in.

Zombicide: Undead or Alive is a Wild West take on the classic Zombicide formula (think Left 4 Dead - if video games are your thing) with some minor quality of life improvements, and thematically it more than sticks the landing. Everything about the game design screams both Yee and Haw with steam trains, gattling guns, and fanning the hammer of a six shooter into hordes of the undead. It's a tense ride and perfectly balances increasing the difficulty with the levelling up of characters to ensure you never feel entirely on top of any situation. A bad dice roll or an ill advised move is all it takes to become overwhelmed by the ever growing crowds of rotting corpses. 

I love a game that combines strategy with blind luck in the roll of some dice, and oh boy does this game deliver on that promise. It could be said that with dice rolling and drawing items from a deck there is slightly too much chance involved, some sessions feel doomed from the start if character fails to get kitted out effectively in the first couple of turns. This doesn't diminish the enjoyment I get from it though, as you need to go into this game with the frame of mind that it's not over until it's over. Just as a bad roll of the dice can spell the end for your luckless cowboys, a few good rolls can completely turn the tables and bring you back on top.

As it happens, I had a good run and almost beat the scenario, right up until one character failed a couple of rolls and was swarmed by runners (this game answers the eternal question of fast or slow zombies by having both of them). The game had my heart racing and my mind abuzz with strategies to eek out survival for just a little bit longer. Needless to say, I was definitely distracted from my previous spiral of negative thoughts for I don't know how long. 

It got me thinking about why Zombicide succeeded when Cartographers failed. Cartographers is a far more relaxed experience, which on the face of it seemed like a better fit for the low mood I was in, but what I realised was that I needed rules. I needed a juicy set of rules to get my brain computing without straying too far into the realms of a crunchy eurogame. I needed a theme that was exciting and just a little bit silly. Zombicide got the cogs in my brain turning and for a few hours (I assume, I still have no idea how long I was playing for) I was lost in the world of the game. How could I be anxious about the nebulous future when I had tangible little plastic zombies to direct my anxiety towards? How could I feel hopeless when a steam train came barreling down the tracks, promising a way out of the undead nightmare?

Board games give structure to a situation. I've written before about how they give structure to social situations and help us get to know each other better, but what I realised the other day was that the structure they provide can also be psychological. When my mind is messy and wandering to unhelpful places, games can provide a framework for me to build my thoughts around. They are tangible and interactive yet also activate the imagination, building worlds out of nothing more than a few bits of cardboard and plastic.

Did Zombicide cure my depressive mood? No. That remains something that I just have to ride out. But it did provide me with some respite during the game and for a good while afterwards. It gave me the distance from my negative thoughts that I needed to remind myself that as always, these episodes are only temporary. I've survived them before, I will survive them again. 

Table top gaming provided me with clarity and refuge from a storm and I think they have the power to help others in this same way. It's the driving force behind Hand Limit, to reach out to other people who might feel the benefit of play and provide them with the tools they need to help them overcome their own battles.

Canterbury Halloween Board Game Club Announcement

 

We are very excited to announce that following our hugely successful Canterbury Pride Board Game Club, we will be hosting another event: Canterbury Halloween Board Game Club, on Saturday 25th October 2025! The event will run from 10:00-16:00, so that's 6 hours of gaming!

This time we're putting our efforts into making a Halloween themed event that is fun for adults and children in a calm and relaxed setting. We'll have a great selection of board games available for people to play. Some scary, others less so, so there'll be something for everyone to enjoy.

Halloween events are more often than not aimed entirely at children, or if they are for adults, they involve heavy drinking and loud pubs. We thought it would be nice to have something a bit more chill. Somewhere to come and soak up some spooky vibes and gain the benefits of table top gaming.

Once again we are very lucky to have access to the Fruitworks Coffee Shop event space, which we loved hosting in for our last event and we will have stalls available from local businesses. So far we have confirmed Board at Home, Ramsgates FLGS, Drawn and Quartered tattoo studio, and Kitsch Flamingo Designs, who ran our hugely successful tombola at our Pride event.

We will also be using this event to launch the Hand Limit Go Fund Me, which we will be using to help raise funds to get Hand Limit set up as a Community Interest Company. It is our goal to expand the reach of our activities and use our resources to support local community groups and schools through the positive effects of table top gaming. However, in order to get there we first need some funding to get ourselves set up.

Review: Tribes of the Wind - Does anyone else smell Ghibli?

 

We recently got a chance to play Tribes of the Wind by Joachim Thome, published by La Boite De Jeu, at Canterbury Gaming Festival, and if you read our roundup of day 1 you'll know that we didn't get past the first turn before throwing in the towel.

Well, I got home and I found that I couldn't stop thinking about the game. The artwork, the pieces, the promise of a satisfying tile-laying, worker placement, strategy game with all the colour, charm, and theme of post-apocalyptic environmentalism, reminiscent of studio Ghibli's Nausicaa: Valley of the Wind (I mean, seriously, someone on the production of this game must have been a fan of that phenomenal film). Plus I was left with the feeling of disappointment at not having understood a game that had such a small instruction booklet for the amount of game that was in the box. 

All of these things left me wanted to take another run at the game. I said to a fellow Hand Limit Collective member that I really felt that given half an hour in a quiet, temperature controlled space, I would make sense of the rules (which didn't seem that complicated, it was definitely a skill issue on my part). Therefore, it was with great delight on Day 2 that I found a copy for sale at Board At Home's "pay what you roll" stand at the event. I rolled a D20 and came away with a copy for £16. I was so sure that I would like Tribes of the Wind if given another opportunity, I was happy to spend the money.

Sure enough, once I got it home and could sit and properly digest the rule book I almost felt foolish that it had bested me a couple of days before. The premise is simple, clear away pollution in order to lay forest tiles on your player map, rewilding the barren landscape, and then populate those tiles with people (known as Wind Riders) to construct villages. As soon as one player constructs their fifth village an additional round is played and the game ends.

Combining a bit of card drafting, a bit of worker placement, and a bit of set collecting, the game (for 2-5 players) plays very smoothly with straight forward actions available on each turn. Players must choose between playing an action card from their hand, placing a temple at the cost of three action cards, or building a village on a populated forest tile. The challenge is collecting sets of cards that allow you to play these action cards. Each card has a specific element associated with it and the requirements to play need certain sets of these elements to work. For example, in order to play a card that would allow you to clear pollution or place a forest tile, you may need one of every element in your hand, or for you to have more water element cards than both of your neighbours.

Victory points are earned in a variety of different ways. The most prominent is through completing objectives on village cards, which are earned whenever you construct a village. These will have specifications such as tiles in certain configurations or temples built in certain locations. Points are also scored for removing as much pollution as you can, and placing all your temples (you are limited to 4).

Working out the best order to play your cards adds a real puzzle element to an otherwise simple game, but it carries it off very well. There's very little downtime between turns and during that time you will find that you are focused on deciding what card to play next to maximise efficiency. While the game is primarily built around constructing villages on your own individual maps, there's a bit of player interaction when it comes to using your neighbour's cards to complete card requirements, and drawing new cards from the same marketplace. This gives scope for working together, or working against each other, depending on who you're playing with.

Despite the straightforward nature of the actions, there's a lot going on in this game that gives it a moderately crunchy feeling but it feels great when you manage to pull off the strategy you had planned. There are a lot of pieces to this game and it's satisfying to get to place them around your board. Generally the game has a very nice feel to it and the quality of the assets is clear.

The only downside we encountered was especially notable at the start of the game. It's very easy to be dealt a starting hand that cannot be used because you've not had a chance to build any sets yet. In this instance it's possible to spend three of the cards to build a temple. However, it does feel like it would be possible to be backed into a corner as only one temple can be placed per tile, and you only start with a single tile. This is frustrating early game, when it feels like your agency is taken away from you, but as the game progresses and sets of cards are accumulated, it becomes easier to fulfill the action card requirements.

In a recent review of Trickerion as part of our Canterbury Gaming Convention Day 2 roundup, I bemoaned the game's chaining of requirements, which made meeting a simple objective feel like a cumbersome task. To an extent this game operates in the same way. Players need to decide what they want to achieve and then slowly work backwards to plan out how they will get there. However, Tribes of the Wind manages to make it feel less clunky and there is more often than not a clear path from point A to B. I do feel that the estimated play time of 20 minutes per player to be a bit unrealistic. For a 3 player game we easily made it last 2 hours, though some allowance must be made for it being our first game.

Overall, Tribes of the Wind is a lovely game that offers an engrossing experience, boosted by some truly lovely artwork and a cohesive theme that works well with the mechanics at play. If you're a fan of worker placement games, then this is a must try.

Games on Location: Episode 2 - Anarchy in the Arctic

 It's been a hot minute since we wrote our last Games on Location article (we took Fungi out into the woods), but today we have an extra special edition. You may remember that last year we previewed the fantastic Arctic Anarchy and interviewed its creators Ricky Baker and Lydia Vadgama. Well, during this interview I suggested that they take a copy of their game with them to play while in the arctic circle to do a special Games on Location for us. At the end of June 2025, Ricky and Lydia voyaged to Iceland's capital Reykjavik and further north to Grundarfjörður, Ísafjörður and Akureyri. They then continued on to Alesund in Norway.

The rest of the article is provided to us by Ricky who made some notes on their experiences travelling north with a copy of Arctic Anarchy in their possession.

*    *    *

Arctic Anarchy on location in Iceland and Norway

The route of our journey meant that we crossed the Arctic Circle when going around Iceland in a North easterly direction, and again when heading towards Norway going South easterly. Naturally it was only fitting that we brought our creation with us. Whilst we did this in the comfort of a cruise ship, our journey did in some ways help us scope out what we might encounter when we embark on our Arctic Quest voyage in Svalbard and give us inspiration for the possibility of an expansion to our game.

No nighttime and folklore inspire possibilities of expansions

Between May and July is known to those in Iceland and Norway as "Period of Midnight Sun", during which the sun does not truly set, but rather sits on the horizon only to rise again after a few short hours. At 6pm the position of the sun makes it seem like midday, and midnight seems like early evening time.

Icelandic and Norwegian folklore is filled with stories of trolls. Much of the landscape tell the stories of these trolls, including "Naustahvilft" (The Troll Seat) located in Ísafjörður.

Thinking about an expansion for Arctic Anarchy, we knew that we would want to introduce and additional dimension to game play for the more experienced board gamers to enjoy. The period of midnight sun and the legends of the Trolls have inspired the idea of adding a "Trolls" card to the events deck. When drawn, the sight of the trolls cause the animals on the iceberg to go into hiding. This manifests itself in the game play as the players having to turn over the animal cards on the iceberg so that the faces are hidden. Any future cards drawn to replace those taken from the iceberg must also be placed face down. As a result, players will be adding animals to their raft blind, until the next event or another troll card is played, (we are yet to decide how the troll card will be cancelled).

Rainbows in Rekjavik and Wildlife icons

Animal cards within Arctic Anarchy are based on native mammal species within the region of Svalbard. Currently the game comprises of Polar Bears (the symbol of Arctic Quest 26), Arctic Foxes, Reindeer, Arctic Hares, Seals, and Whales.

We were lucky enough to see two of these animals in their natural habitat, having spotted a harbour seal off the beaches in Grundarfjörður and a Whale fin whilst at sea.

Another Icelandic icon is the Puffin, with many tourist excursions available to see these in the wild. If that doesn't float your boat, you can visit "Rainbow Street" in Rekjavik, where the cobbles have been painted in stripes of rainbow colour. The street has been decorated in this way as a sign of joy and support for diversity. The initiative is organised by the city of Rekjavik in cooperation with Rekjavik Pride. The street has become an attraction for many visiting the city, and of course there are many shops along the way filled with all manner of puffin themed souvenirs. The puffin, with its colourful beak, seems right at home in this part of the city, and would be a welcomed addition as a new animal type in the Arctic Anarchy game.

For us as creators, the addition of a rainbow puffin card to our game would symbolise the inclusiveness that scouting strives to provide for all its members. It would also reflect our own personal morals and desire for Arctic Anarchy to be a game that can be played by all.

*    *    *

Hand Limit loves Arctic Anarchy and strongly recommend checking it out  wherever and whenever you can. Get in touch with Ricky and Lydia via the Arctic Quest 26 website to pick up a copy or head over to the Gilwell Reunion 2025, Gilwell Park Campsite, London from 29th to 31st August. This is a festival for adults scouting volunteers, where the wider Arctic Quest team will be promoting and raising funds for their expedition.

Stay tuned for more updates on this fantastic game and the journey of the Arctic Quest 26 team.

Preview: Last Week of Summer - Make It Rad

 

We all remember the long Summers of our youth. Days that stretch endlessly away from us, so much promise and possibility. Plans to see friends, to hang out, spend time belonging to no one but yourself. But there's always tomorrow to be active, today why not spend some more time in front of the TV?

Then all of a sudden you look at the date and realise that you only have one week left before real life comes screaming back into focus. Perhaps you're moving on to University or College, perhaps you will be getting into the world of work. No matter what's waiting for you, you are suddenly faced with only a week left before responsibility catches up with you.

What is there to do other than make sure that last week of Summer is as memorable and awesome as possible? It's time to get off the sofa and make those memories. 

That is the premise of Last Week of Summer from Allies or Enemies. It's the summer of 1986, you just graduated high school and you have one more week of summer before it's time to head off into the real world.

We came across Last Week of Summer at Canterbury Gaming Convention and we were pulled in by the absolutely gorgeous 80s vaporwave aesthetic. After playing it on Day 2 we all agreed that it was by far the standout game of the whole convention. The game play is smooth and well thought out, offering an engaging and smooth experience that neatly marries the mechanics and the theme. And I can't stress this enough, it is such a visually appealing game that caught the eye of everyone passing by the table.

Last Week of Summer combines worker placement with modular locations that represent different attractions in your town, from the arcade, to the skatepark, to the video rental store. Each location has it's own mechanic as well making the game feel varied and entertaining. The skatepark, for example, involves collecting tetrominoes and compiling them to learn tricks, the fast food joint is a push-your-luck mechanic where you try to eat the most food you can, the arcade is a dice-rolling mini game where you try to complete rows of identical dice. Successfully completing these mini-games awards cassette tokens which act as victory points at the end of the game.

Combining worker placement with so many other mechanics was a big swing from the designer, Shawn Hoult, as handled poorly it could easily have been a messy experience, but the game absolutely hits a home run. Getting a chance to play each mini-game is a real draw to encourage players to spend as much time as possible at each location, rather than just camping out at one.

There's one catch to your plans to having the most amazing last week of summer, and that's money. In order to make the most of your week you're going to need cash, and in order to get that cash you need to take on shifts at the aforementioned businesses. When working shifts you don't get to participate in the mini-games but there are rewards beyond money. If you have a slow shift (if no other players choose to attend the business) you get bonuses towards earning cassettes, such as renting a free video from the video rental, or taking a small tetromino from the skatepark as you practice your skateboard tricks. 

The game takes place over 7 rounds, representing a full week, and each player plans out their days (morning, afternoon, evening) by playing action cards in front of them at the start of each round. Each period of the day is then resolved in the order that the locations are placed around the central board. Additionally, there are cool kids roaming town that score you bonuses if you attend businesses at the same time as them.

At the end of each day is a party and those who had the most impressive day get an invite, scoring them extra cassette tapes.

Overall we were incredibly impressed with the quality and quantity of game play that Last Week of Summer provides, and we are very excited for the launch of its Kickstarter campaign on 19th August.

Keep an eye on our Instagram for an upcoming reel that really shows what a beautiful game this is and give Allies or Enemies a follow to keep up to date on its development. While you're waiting for the game to come out, why not give this playlist of 80s bangers a listen on Spotify, put together by Allies or Enemies to complement their incredible game.

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.