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Game Review: Splendor

Board games come in all shapes and sizes, and run the gamut from frenetic, brief bursts of simple gameplay, like Escape! The Curse of the Temple, to day-long brain-burning grand strategy experiences, such as Twilight Imperium. Some games, however, manage the tricky feat of being both easy to learn and play, and deep in terms of strategy and puzzle-like challenge. One such game is Splendor, a contender for this year’s prestigious “Spiel des Jahres” (game of the year) award in Germany.

Set during the Renaissance, Splendor casts its players as gem merchants, using the glittering resources to build and expand their holdings. Some of these properties do little more than feed more gems into one’s pockets, while others earn the merchant prestige. Famous figures will also watch the proceedings, lending their support to merchants who play into their interests. Merchants are, of course, too refined to degenerate into violence, but that does not mean that the competition for holdings is not excessively cutthroat. You have to be smart, fast, and ruthless to earn the right combination of holdings to earn the most prestige.

The holdings are displayed on cards in a tableau available to all players, arrayed in ranks from one to three. First-tier holdings are simple mines that offer no prestige but are very cheap, and provided permanent discounts to future purposes. Second-tier holdings are pricier but offer prestige along with their discounts, and top-tier cards are pulverizingly costly but bring in tons of points. The aforementioned famous figures each display a given number of holdings in certain colors, and the first player to reach that number of holdings earns the figure’s prestige. On your turn, you can pick up a diverse number of gems, double down on a single color, purchase a holding, or reserve a holding by picking up a single ‘wild’ gem. The purchase of holdings is facilitated with thick plastic chips, each representing a different kind of gem. The number of chips is limited, and once they’re gone, they’re gone, at least until a merchant buys a holding.


The bank of gems: source of and solution to all your problems.

A good board game does not base its core gameplay around randomization, but uses randomization as part of its setup to increase replay value. The decks of holdings are shuffled, and the patrons selected at random, before the game even begins, so the tableau presented to players is always different. The challenge, however, is always the same: how can you use the limited resources available to grab the cards you need before someone else does? Splendor‘s presentation, in addition to being beautiful, always challenges its players. There are multiple ways to carve a path to victory, with some players trying to go wide in their holdings’ diversity while others opt for vertical collections of deep discounts to rush towards high-prestige rewards. Players bounce off of the tableau as well as each other in their quest for victory, and the game manages to combine the tension of competition with the intellectual challenge of puzzle-solving.

In addition to its rock-solid gameplay, Splendor is simply pretty to look at. The art of the holdings is very attractive, their color palettes informing the gems required to pick them up. In addition, the gems themselves are weighty, large chips that clack and clatters as they move from their stacks to players’ positions and back again. It lends the game an almost poker-like feel as players study the tableau the way professional gamblers study the spread of cards at a Texas Hold-‘Em tournament. For all of its relatively simple design and easy-to-explain rules, Splendor provides not only a challenging gameplay experience, but a lovely one.


The holdings are just gorgeous.

The Spiel des Jahres award is one of the highest in all of gaming. To qualify for it, a game has to be challenging and interactive but also straightforward enough that anybody can play it. Splendor hits all of the right notes: its concept lends itself to diversified gameplay, its rules are clear and simple, the layout is fantastic, and the design is nearly flawless. Even if it doesn’t win the award, it definitely deserves a place in your collection. In a world of heaving shelves full of wargaming and sci-fi miniatures, and massive boxes teeming with monsters to slay, games like this may seem simplistic and easy to overlook, but a game this attractive, this challenging, and this rewarding is truly a sight to behold. I can’t recommend it highly enough.

Too Much Story

Bard by BlueInkAlchemist, on Flickr

Storytelling is (sometimes literally) my bread and butter. I lean towards games with strong story emphasis. I often value story of spectacle in movies and television. I write stories in the hope they will be enjoyed by others. A question, however, has occurred to me: is it possible for a game or novel or film to have too much story?

I’m not talking about the content of a narrative, per se. Multi-volume epics like A Song of Ice and Fire or The Vampire Chronicles have a lot of story to them. That, however, is the medium of novels. In films and video games, audiences tend to expect more expedient segues into the action. Front-loading the running time of such media with exposition can lead to a negative audience experience.

This isn’t to say that there’s anything wrong with a tale that paces itself. 2001: A Space Odyssey may be a long-winded narrative that seems preoccupied with its own visual stylization, but at its core there is a thought-provoking story that is couched purposefully within those images. For all of its run-and-gun presentation, Spec Ops: The Line slowly reveals the thrust of its tale and the true purpose of the narrative without feeling rushed no matter how intense the shooting becomes. Pacing is important to good storytelling, just as important as developed characters, a nice sharp hook, and a payoff that is both satisfactory and leaves the audience hungry for more.

What I mean when I say “too much story” is the aforementioned problem with exposition. A storyteller that feels they have too much story to tell, even if they don’t realize that is their sentiment, will fill their character’s mouths with stilted, expository dialog rather than words that inform relationships, motivations, and emotions related to those characters. The characters in your story should exist for reasons beyond the advancement of the plot. No narrative through-line is so vital that you need to sacrifice your characters’ agency at its altar.

In some types of games, a little expository dialog is inevitable. Role-playing games have NPCs to fill the player or players in on their quests, the world in which they live, and what’s at stake. Even here, though, it’s important to flesh out those NPCs, to give them lives of their own, and make the world come to life for your players. Never forget that the word character is part of the NPC acronym. Like characters in any other narrative, the audience (in this case, players) should be enabled to make connections between and towards these individuals. The more you create these opportunities, the more chances you have for your narrative hooks to sink in nice and deep, and the better the experience will be for those you’ve ensnared.

It’s never enough for your characters to tell the audience or each other how important the story that’s unfolding is supposed to be. At best, this comes off as pretentious; at worst, it makes the entire proceeding drab and uninteresting as well. Man of Steel fell into this trap. It broke what many would consider a cardinal rule: Show, don’t tell. Your narrative is best conveyed through action and well-informed dialog, in subtext and purposeful characters following their motives in rational ways, even if those ways are only rational to them. In narrative fiction, let your characters inform the story; in games, give your players important choices; in both cases, let these variables shape the tale’s path to its outcome, even if you believe you know what that outcome should be.

Even if you outline your tale from start to finish long before you type the first word of the story itself, you should give the appearance of having no idea what will happen next. Hide your structure behind the masks of characters who come to life and events that will be difficult to forget. The more organically your plot points unfold, the less they’ll feel like plot points. Obfuscate the story behind its players; hide the strings upon which your characters dance.

This is merely a baseline guide for narratives, of course. Sometimes, genius comes from showing the strings – Slaughterhouse-Five comes to mind. However, if you feel like your story is mired in something you are unable to discern, try removing the structure from it and letting the characters guide you, rather than the other way around. You may be surprised at what you find; you may find yourself in a situation where you simply had too much story.

Flash Fiction: Rayo de Baja, Jr

For this weeks Terribleminds Flash Fiction Challenge, we have been tasked to use one of these photos. I chose #47.


The sun was blazing high in the sky, and there were no clouds nearby to get in its way. Traffic was far below the rooftop terrace where he reclined, tropical drink in his hand. He tried to remember a time when he was this relaxed, and he admitted to himself that it had been a very long time since he kicked back like this.

He felt quite fortunate, and not just for the view or the booze. Not everyone was cut out for life in lucha libre, even among the most prestigious families. Yet here he was, reclining under the sun as a direct result of his successes in the ring. There were those who claimed it was a “young man’s game,” but he thought of El Santo and the Blue Demon, who fought well into their 50s and never compromised the quality of their fighting skill or their loyalty to their fans. It was physically demanding entertainment, but it still profitable for everyone involved, and it beat working at a desk five days a week.

“Your pardon, Señor?”

The voice belonged to Carlos, his manager. Rather than responding, he pulled up the bottom of his mask to get the straw between his lips. The icy beverage sloshed in his mouth and down his throat.

“Señor, the time is approaching.”

Behind the black sunglasses, the luchador rolled his eyes.

“Come on, Carlos, can’t you see I’m enjoying one of these junkets for once?”

“This is no laughing matter, Señor. You were challenged to a relevos suicida. El Trueno de Guadalajara has been training non-stop since the challenge, and you are here drinking!”

He had to smile. A relevos suicida was a rare challenge for a luchador. It was a tag team match, with the members of the losing team fighting one another to see who would be unmasked. It was quite a spectacle, and the unmasking could lead to a serious blow for the loser’s career. Carlos was deep into the culture, and deeply feared the shame he would gain by association with an unmasked luchador.

“Do you think I am unfit, Carlos?”

“I… what?”

“Am I flabby? Slow? Do I, perhaps, smell of defeat?”

“No, no of course not Señor, I merely…”

“El Trueno de Guadalajara is a good man. A good partner. He’s also younger than I am. He’s less experienced. Of course he has been training like mad. He not only wants to do his share in the ring, he wants to take every precaution against being unmasked. Not to mention the honor he’d gain in unmasking the son of the original Rayo de Baja.”

“Señor?”

“Come now, Carlos, have you forgotten? My father first wore these colors when he took the name Rayo de Baja in honor of one of his favorite luchadors, as well as our home. His career has been long and mostly unspotted. I was, and am, proud to wear the mask and carry on the tradition. Yet I am a man. Is a man not allowed to have time to breathe, collect his thoughts, and enjoy the sunshine on a day like today?”

“It is for that reason I ask you to at least warm up, Señor.”

“Do you really think I would dishonor the family traditions in such a way?”

“I simply think you should be cautious.”

“I chose a good partner. I have trained quite extensively myself. The relaxation was soothing my nerves before you began prattling. What more would you ask of me?”

“With your match in two hours? Some stretching, perhaps?”

He lowered his sunglasses to look directly at Carlos.

“Carlos… do you have a cell phone?”

“What?”

“Give me your phone.”

The manager did so, and Rayo de Baja, Jr dialed in some numbers.

“Hello?” The voice on the other end was gruff but polite.

“Papa, it’s your son.”

“Ah, hello! I did not recognize the number. Isn’t that relevos suicida today?”

“It is, in fact. I’m catching some sunshine to relax beforehand. Like you did before yours in Mexico City, what was it, ten years ago now?”

Rayo de Baja, Sr laughed. “Twelve. And what a match that was! Nearly lost my mask.”

“I remember. Would you blame the booze?”

“No, of course not! I had worthy opponents all down the line. I would never be stupid enough to let something like booze impede my fighting skill.”

“Do you think I would?”

“Say again?”

“I’m having a drink here on this rooftop and my manager seems to think it’s a bad idea.”

“…Is this his phone?”

“Yes, Papa.”

“Give it back to him.”

He did, and watched Carlos’s face as he listened to the elder luchador. He couldn’t hear everything that was said, but he definitely heard his father raise his voice. He took courage whenever he heard it, and he hoped Carlos would too. Or at least get shocked into silence.

“Did you have to do that?”

Rayo looked up. Carlos was off the phone, but still holding it.

“Call my papa, you mean? No, of course not. I know my father well enough. I don’t have to call him before every match.”

“He… asked me if I have no faith in you.”

“I’ve asked you that before as well, Carlos. Sometimes, I’m not sure you listen.”

“Perhaps I don’t always, Señor. I apologize for that.”

“Let me tell you something my father told me the first time I was humiliated in the ring.” He sat up. “Learn from this. Take what you feel now and let it reinforce the lessons to be found in this moment. We are only as good as our worst defeat. We can be better than that, but only if we learn. Understand?”

“Yes. Yes, of course, Señor.”

“Good. Now get yourself a drink.”

Carlos pocketed his phone, nodding as he left, reminding Rayo de Baja that he should come downstairs in an hour to meet his partner. The luchador raised his glass and settled back to soak up the sun.

500 Words on Vera

I named my car Vera.

I think it was almost 5 years ago that my old car had a close encounter of the highway divider kind. I picked up a black Honda Civic coupe from a company called CarSense, and she already had a custom exhaust and great pick-up. Considering she was the very best car I ever owned, I made a deliberate callback to Firefly and named her Vera.

She’s run pretty well over the last few years. I’ve had very few problems to speak of. But now, she’s 117000+ miles into her life. I’ve paid her off completely. And now, she’s started developing major issues. If I were to get absolutely everything fixed, I’d be spending about half of her trade-in value.

I know that other cars have lasted longer than this. A lot of people put a ton of TLC into their cars themselves, extending the life of their modern chariots to ludicrous levels. I respect that deeply. And I know that older cars were built to last. They were not built to support an economy of replacement parts and second-hand labor. They were built, simply, to work, and keep working.

Vera’s been a companion for a long time. She’s been to and from Canada several times, crossed the state of Pennsylvania, and getting to and from PAX East could have been a lot worse. She’s comfortable to ride in. I upgraded her radio recently so she syncs with my iPhone, plays music from a thumb drive, and sounds fantastic. I’ve always liked the thrum of her engine and the roar of her acceleration. Until the last couple days, she hasn’t let me down or left me stranded. She’s been reliable, quick, and tough.

For years she’s had a dent on her driver’s side. After getting wanged by a post on the way to Canada during some nasty weather, she continued to run just fine after she got pulled out of the ditch. She’s worn that dent with pride. I guess there was a part of me that thought of her as kind of invincible. She even gets good gas mileage – 33 or more miles to the gallon on the highway. Not as good as a hybrid, or the Tesla I’ve been eyeing up, but decent.

I’m going to miss her.

I’m contemplating trading her in. I don’t know if I can trust her for the entire drive out to Seattle in August. It turns out that even after these repairs are done, she’ll develop more problems, possibly sooner rather than later. I feel like a family member has been given a medical diagnosis with a questionable outcome. I really don’t know the best way to proceed. I guess I’ll figure that out over the next few days.

Either way, I don’t think Vera will be my car for very much longer.

It’s been a long trip. A good one. It’s had ups and downs but I’ve survived, and so has she.

Thanks for everything, Vera. I’ll miss you.

Papers, Please – A Love/Hate Relationship

Courtesy Lucas Pope
Glory to Arstotzka.

Let me be clear right from the off: I adore the fact that Papers, Please exists.

For those of you who don’t know, Papers, Please is a video game described as “a dystopian document thriller.” You are a citizen in Arstotzka, a fictional country ruled by an authoritarian regime, and you are tasked with monitoring one of its border posts. You examine the documentation of someone entering the country, look for discrepancies, and then bring down the stamp to either approve or deny their entry. You can detain people trying to smuggle contraband or weapons into the country, and your earnings are based on how many people you process in a given day, less any mistakes you make.

In a market dominated by first-person shooters, sports simulations, and massively multiplayer online games, it’s fantastic that Papers, Please even grabbed a toehold on the market, let alone climbing to success. Most of the reactions to the game have been entirely positive. Personally, I think it’s a deeply immersive and very atmospheric experience, with dashes of humor and some very real moral dilemmas that add to the emergent narrative that comes with every person that steps into the booth. Despite not having top-end graphics, the stories both spoken and implied by those giving you their passports and awaiting judgment is some of the most involving story-driven gameplay I’ve enjoyed in a long time.

It’s so involving, in fact, that I can barely play it.

You see, dispensing your tasks requires you to compare the would-be visitor’s documents with several sources you have yourself – a guide to various neighbor countries, their seals and cities, different permits to allow, etc. The money you earn has to be split between your family’s needs, and if you don’t make a certain amount, you’ll have to choose between food, heat, and medicine. Finally, if you miss something, the antiquated dot matrix printer in your booth begins to chatter, telling you how you messed up and how much it’s going to cost you.

It’s this last bit that really affects me. You could even say it triggers me. I have enough problems in dayjobs where a detail slips by me, or the alignment of an element is off by a pixel, or the timing of an animation is not quite what a client was looking for. I’ll think a task is done, on time and without incident, when news hits me like a hammer that no, there’s more work to do, and I know it reflects badly upon me and my self-esteem takes another blow and I feel the crushing inevitability of time and decay as I re-open my assets and go back to something I thought I’d actually done well for a change. And now a game is invoking that feeling? No, thank you.

I bought Papers, Please and I do not regret it. It’s a brilliant piece of work, and Lucas Pope deserves all of the credit he gets for bringing it to life. Maybe, at some point down the road, when I feel less like the sword of Damocles is hanging over me every time I open a new task, I’ll return to that cramped little checkpoint on the border of Arstotzka. There are good puzzles, good stories, and good design all over and throughout it, and I do recommend it. I just hope that someday, I can play the game without that paralyzing sense of dread that I feel during business hours all too often.

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