Sean Weeks

Introduction to the World of Frostpunk Frostpunk: The Video Game sports a steampunk coat of paint, the stylish, often meaningless brass cogs and aviator goggles, but the real hook was “global warming in reverse.” It’s a satire equipped with the macabre comedy of that old Robert Frost poem: Some

JokkMokk is a 1-5 player card snatchum about kitsch. I don’t mean that in a dour Anton Ego sort of way. I mean that in a Wes Anderson look-at-these-cute-ceramic-doggies-I’ll-take-ten sort of way. With that spirit in mind, the box art goes from “far too busy” to “maybe a

I hate Caylus.  I note that this is probably a bad opinion to own. My encounter with the World’s First Worker Placement™ missed a key rule and robbed it of some potency, so in a practical sense I’ve never played it. When a mind like Cole Wehrle’s

The titles Root, Oath, Pax Pamir, Arcs, and John Company will most likely ring a bell for regular members of the tabletop community. Like any collaborative project, their success can’t be laid solely at the feet of any one person, but they have a common thread: their designer, Cole

Wizardry: Proving Ground of the Mad Overlord inhabits an odd space in the library of deluxe remasters. On the one hand, it’s a laudable project that makes a worthwhile contribution to discourse around computer RPG design. Designed in 1981, one year after Pac Man and seven before the first

I buy Rubik’s cubes at the supermarket out of guilt. The brain’s a muscle and I don’t always nourish it properly. When I’m in the middle of something especially stupefying, I need to make promises to my psyche so it doesn’t do anything drastic. “Mistah,

Product was not provided by the manufacturer for this review. “For thinning my paints, I use ordinary tap water…. [My] palette is anything but hi-tech. I use a cutting mat covered with strips of masking tape. That’s it! (When I grow up and become wiser, I might want to

Civilization designer Sid Meier famously said, “Games are a series of interesting decisions.” If you strictly apply that to what you can measure, the effects of your choices as they ripple across a board, then Collectionomics won’t please you. But if, by “decisions,” you include rhetoric—the art of