Essen 2019 game reviews – live and incoming

And so the madness is over for another year. More than 200,000 game fans, checking out more than 1,500 new game from 1,200 exhibitors. So it;s time for some Essen 2019 game reviews.

I always do a post highlighting the reviews I’ll be doing in the coming months – and here it is. I picked up a few less than usual, avoiding heavier games, but hopefully there will plenty to pique your interest. And yes, I’m sure this initial list will grow in the coming months.

I’ll move them from ‘hopeful’ to ‘pending’ to ‘published’ as I get them up on the blog. So you can simply bookmark this post for regular updates on what’s done, and what’s on the way. Hopefully it will be useful – both for you and for me!

Published reviews of Essen 2019 titles

  • The Artemis Project (1-5 players, 1-2 hours, Grand Gamers Guild). A cut-throat worker placement game with some familiar yet fresh mechanisms.
  • Dawn of Mankind (2-5 players, 45-60 mins, TMG). A worker placement euro continuing the ‘lots of game in a small box’ trend.
  • It’s a Wonderful World (1-5 players, 30-60 mins, Boite de Jeu). A fast card drafting game with a cascading engine building/set collection system.
  • Kingdomino Duel (2 players, 20 mins, Blue Orange): A roll-and-write version of the SdJ-winning domino game, with added spell powers.

Essen 2019 game reviews – Already on my shelves, reviews pending

  • 1987 Channel Tunnel (2 players, 45 mins, Looping Games). A tight two-player worker placement game with a unique theme and in a small box.
  • ArtSee (2-4 players, 30 mins, Renegade). A clever take on set collection and tableau building, where you have to keep a close eye on your opponents.
  • A Fistful of Meeples (2-4 players, 30 mins, Final Frontier). A fast-playing and interactive worker placement game, set into a mancala-style board.
  • The Isle of Pan (2-4 players, 30-45 mins, Lumberjacks Studio). Tile-placement game with all the usual meanness hidden in a very pretty package.
  • La Cour des Miracles (2-5 players, 40-60 mins, Lumberjacks Studio). A lively, interactive twist on worker placement, area majorities and secret worker strength.
  • No Return (2-4 players, 30 mins, Moses). Abstract numbers game with solid Bakelite tiles, with an intriguing player-driven tipping point mechanism.
  • Outback Crossing (2-6 players, 30-40 mins, Mucke Spiel). Tile placement abstract game, where you choose when to claim evolving scoring lines.
  • Pharaon (1-5 players, 30-75 mins, Catch Up). Worker placement and resource management combine on an action wheel, with forward planning essential.
  • Robin of Locksley (2 players, 30-45 mins, Wyrmgold). Racing game where two players make (chess) knight-style moves to claim what’s required to progress.
  • Sierra West (1-4 players, 60 mins, Board&Dice): Part deck-builder, part resource management, part action selection, all modular euro.

The ‘hopefully’ list

I’ve also got my eye on: Black Angel, Bus (reissue), Conspiracy, Cooper Island, Crystal Palace, Die Macher (reissue), Fast Sloths, Ishtar, Maracaibo, Miyabi, Paris: City of Lights, Paris: New Eden. Plus expansions for Terraforming Mars (Turmoil) and Welcome To… (neighbourhoods).

Please post in the comments if there are games you want to see reviewed and think I’d like. With more than 1,000 games coming out it is easy to miss some real gems! (Although, as always, a shout-out needs to go to the fabulous Tabletop together Tool).

Board game Top 10: Essen 2019 wishlist

Essen 2019 is almost upon us. If you’re not aware, Essen Spiel is the annual release fest for board games. Every publisher worth its meeples is there, along with tens of thousands of gamers.

I usually spend the two months leading up to the event slowly going through the 1,000+ releases, slowly building my anticipation. Not this time. A two-week holiday to America, plus a bunch of real life stuff, has forced my research into a tiny window. And I mean tiny. I forced my research into a week. And I’m actually pretty fascinated to see if it makes the slightest bit of difference (guess: probably not).

I probably wouldn’t have spent as much time as usual whatever the circumstances. My patience for the ridiculous amount of games debuting each year is giving me serious release fatigue. And it’s not just me: I hear that more and more, from everyone from publishers to gamers. Yet the steady influx of newcomers to the hobby is proving too tempting for said publishers to resist. And while those same suckers – sorry, punters – continue to fund dross on Kickstarter, that number is unlikely to decrease.

How can I possibly sift through 1,000 new games?

Glad you asked. Using the Tabletop Together website and its fabulous Essen tool, that’s how. You can use it to view all 1,000+ games and watch videos, look at stats and link through to rulebooks etc.

Once you’ve done that, you can take your nerdiness to the next level. Print hall maps showing which hall your chosen games are in, rating them from ‘need’ (cos we all need games) to ‘ignore’. Now you can also share your list with friends, look at the top games (as chosen by all the other users) or look at game stats. These range from what these picks will cost you (ouch) through to how many games you’ve picked in a number of categories. You can really geek out.

It’s also worth mentioning Board Game Geek has upped its game in this respect. It’s own Essen list now has some pretty good functionality, but is largely still less useful (for me) than the TT one. However, the BGG list is worth looking at if you want to do pre-orders, as many games can be booked directly through the one site. This is a great innovation and has proven very popular with Essen attendees.

Essen 2019 – Top 10 anticipated smaller releases

This list excludes games that will probably end up on a table near me soon (big publisher releases, Knizia games etc). These are games I think I may miss out on if I don’t check them out myself (links go to my reviews – or each game’s BGG page):

  • It’s a Wonderful World (1-5 players, 30-60 mins): This sci-fi themed euro sees you card drafting and tableau building, setting up an engine to complete projects to get more powers and points. Simple and short, but using a lot of mechanisms I really enjoy. Nothing new, but enough big ticks to hit my list.
  • 1987: Channel Tunnel (2, 45 mins): 1906 San Francisco was a surprise hit for me last Essen. In the same series, this two-player game action selection game looks to have some interesting mechanisms. There’s mini tech trees, upgrades and some interaction – much more than you’d expect from a small game.
  • Outback Crossing (2-6, 30-40 mins): This fast-playing abstract game has lovely cartoony artwork and simple game play. On turns, you either draw a tile or claim a row/column to score at the end. So it should have a nice tension: claim lines (max three) to try and build them up later, or place and hope to claim them later.
  • No Return (2-4, 30 mins): Another underused mechanism is variable phases; where players decide at which point to move from phase one of the game to the second. This does it in a simple abstract mathsy game, where you draw tiles and place them on your board – before later trying to score them.
  • A Fistful of Meeples (2-4, 30 mins): I like a good mancala/rondel game and this looks to have boiled things down into a simple yet interesting puzzle. Different coloured meeples interact with the spaces in different ways, leaving you plenty of options in how to score your points.
  • La Cour des Miracles (2-5, 40 mins): An action selection game with a twist, as your ‘workers’ have a hidden number – which is revealed when an error fills up. The player with the highest numbered workers getting an extra bonus. This sounds like a really nice twist on a genre I already enjoy.
  • Robin of Locksley (2, 30-45 mins): New publisher, old designer (Uwe Rosenberg). A two-player race to complete tasks by claiming and manipulating tiles from a central display. If he’s got it right, this could be the perfect game for Sarah and me to play at the end of an evening.
  • The Magnificent (1-4, 60-90 mins): I enjoyed Santa Maria from these guys, even if it was rough around the edges. This looks similarly interesting in a ‘loads of euro mechanisms in a box’ way. You power can increase with each action in a turn, leading to interesting decisions on when to trigger your various powers.
  • The Artemis Project (1-5, 60-75 mins): Dice for worker placement is usually fun and here there’s a clever use of limited resources. Lower dice are brought nicely into the mix, as you get less stuff, but definitely get it. Add tough competition for upgrades and engine building, and I’m definitely in.
  • Sierra West (1-4, 40-60 mins): An interesting action selection system looks to elevate this game above most of the competition. While a scenario-based set-up also promises extended replayability. Already receiving positive reviews, so now firmly on my radar.

Essen 2019 – also on the radar

  • Expansions: Both Welcome To… and Terraforming Mars are favourites and the upcoming expansions for them look interesting. Welcome To… has ‘thematic neighbourhoods’ – from zombies to egg hunts. While TM: Turmoil offers further strategic depth via global events.
  • Oldies: A couple of reprints have caught my eye. I kickstarted Egizia already. I also have my eye on Bus, the classic Splotter Spellen route-building, pick-up-and-deliver and worker placement game. As well as Die Macher; German election game I’ve played once and loved it.

Final thoughts

What was refreshing this year was how much information was available about most of these games long before the show itself.

Lack of information pre-Essen has been a bane of planning up until now. This is the first year almost all games have a video, rulebook or review well in advance. So well done to the publishers for that.

But it’s also worth noting how many games looked fine – but not original in any way. I guess its inevitable, with so many releases and so many new publishers/designers. And sure, the older I get the more cynical I am. But it still feels like a largely disappointing Essen 2019 crop at this point.

For older musings on Spiel, check out my previous Essen related posts.

Game design: With 1,000 games released at Essen, is due diligence still possible?

I caught up with Board Game Geek ‘news guy’ Eric Martin at the Essen Spiel press event. Journalists are a cynical bunch, so it was no surprise we took a bit of a sideways look at the current gaming landscape.

The main point I made was that, in a world where getting on for 1,000 hobby board games are being released at a single gaming event, how can designers, reviewers and even publishers to do their due diligence? Is it any surprise the number of average games grows while the number of outstanding ones stays the same, when it is impossible to track what’s being released?

This thought had started to manifest before the event. After going through a list of Essen 2018 releases, I had a slightly shorter wish list than in previous years. Talking to friends I heard a similar story: more games, less of interest. While you can put a bit of this down to a growing cynicism from being long in a hobby, it seemed too common to be just that. So what was it and why?

This is a bit of a stream of consciousness, so please take it as such.

Are the big publishers getting safer?

The majority of games I wanted at Essen were in halls 4 and 5, where the smaller publishers tend to live. I had practically nothing in halls 1 and 3, which is home to the bigger stands.

As I wandered past those bigger publishers, it was noticeable their games were unsurprisingly family oriented, short and pretty, but also largely bereft of originality. Sure, some had clever little tricks (Solenia being a good example, or The River) but they didn’t offer staying power. These were games that would win win you over with their looks, but that you’d be done with within a few months/plays.

You can argue in the current climate this makes sense: put out a pretty game that’s easy to play and teach (to maximise con sales and video reviewer coverage) and that people will enjoy until next Essen, when you can sell them the next game. Music, film, video gaming – even consumer electronics such as phones – already work this way, so why not board games too?

It feels like a ‘big business’ move into an arena that isn’t used to it – and may not be right for it. When you look at the likes of Hasbro, who have been nailing this market for years, the North Star Games approach (make a few games and back them to the hilt over the years) makes sense. So why are likes of Asmodee, Blue Orange, Iello and the rest seemingly going largely against that philosophy? They do have back catalogues, but the number of annual new releases is very, very high.

More customers – but the same sized print runs?

One reason is clearly the new gamer that has been created by the age of the Kickstarter: hype-hunting, cult-of-the-new driven and desperate for ‘value’ – even if they have to pay £100+ to get it. A game isn’t a real game unless it comes with exclusive content only available on pre-order – even if said content is being made up on the fly as the millions of KS dollars role in.

But then we keep being told we have more new gamers than ever before, so surely the minis companies can continue to have their fun while the rest of us go back to having a fantastic annual crop of games we can actually manage – and that are properly developed and then loved (by both publisher and gamer) on release? Games with enough depth to survive more than a handful of plays?

These still happen, of course, but as I stated earlier – the number doesn’t seem to be growing, despite a doubling of actual games being released each year over the last decade (or less). We’ll always get the Azuls and Gaia Projects, but now we have to wade through so many more mediocre games to get to them: and many really good games are being lost in the malaise, ditched to history after a 5,000-copy print run because they weren’t well supported or covered.

So what do we design – and what do we play?

As a reviewer and designer, I’m lucky to play a larger number of new releases – pre and post publication – than most. But with even the Dice Tower’s Tom Vasel admitting that, as a full time reviewer, he can only play a fraction of releases – where does that leave the rest of us in terms of due diligence?

As a designer, I want to see what’s being done: to spot great new mechanisms and designers, as well as seeing the directions publishers are taking in terms of releases (so as to better know who to pitch my designs to). And I’m sure it’s the same for publishers: they need to know the trends, to help them decide what is worth publishing and what isn’t. I’m sure a lot of releases branded as ‘copy cats’ were probably done out of understandable ignorance rather than deliberate shenanigans.

As a journalist, I’m peppered with requests to cover KS games by people who don’t want me to play them: just to cut-and-paste their press releases, or do a paid rules overview. The games I want to play (by proper publishers) I have to hunt down, hassle, buy or borrow and then – even if I review them – it may do the game no good, because it has been completely overlooked by the hype machine. A lot of really good games simply aren’t getting a fair crack of the whip.

And publisher fatigue is definitely starting to show. I know of several publishers who were hardly looking at any new designs at Essen this year, while others were reported to be looking but with no real intention of taking on any new projects. Others have freely admitted to over-extending in terms of releases – meaning they didn’t have the resources to fully back them in the market – while talk of scaling back the number of games is another common topic of conversation.

Is it even a problem?

Top designer Reiner Knizia got by ignoring other designs and just carrying on regardless (or so the story goes). But rumour has it he has lately been playing more games – and his output is improving because of it after a poor run of form (at least by his own high standards).

But generally I think it is a problem. Retailers can’t stock everything and invariably end up with a lot of crap stock no one wants. Customers end up with as many bad games as good and, where once the secondary market thrived, even that is now reeling under the weight of games being ditched. Publishers are in an annual release-test-develop-release cycle that sees them flying by the seat of their pants, while designers are carried along on the same wave. It’s exciting sure, but ultimately unsustainable.

I expect the next few years will continue in the same cycle: uninspiring, short life cycle, family friendly games will continue to dominate the big publisher release schedule while the innovation will come in 1,000-5,000 print run releases from smaller publishers: these niche publishers will, by dint of caring about a smaller part of the market, be at the right end of the due diligence scale but will be in a market reminiscent of a decade ago.

But designers hoping to make a living will be encouraged to make games for the lowest common denominator, knowing that’s what the bigger publishers want: games they can make pretty and tie to a theme, while not over-burdening the new gamers coming into the market with too many surprises.

I also think the big boys will continue to extend their print runs as the hobby grows, but very rarely into the mega seller category – because they’re largely not making games for that reason (as I spoke about recently, variability doesn’t equal replayability – good game design does). It’s going to take a drop in releases, and a tightening of focus, to get the production cycle of the hobby back on track. It’ll mean more due diligence from designers and publishers, but that can only be good for the hobby.

LoBsterCon XVI: 5 short Essen Spiel one-play game reviews

I’ll write more about LoBsterCon when I’ve got more time (spoiler alert – it was awesome), but as I was writing/thinking about the games I’d played over the weekend elsewhere last night I got my thoughts down here too.

These are all games I had some interest in before I went to Essen Spiel 2018, but that didn’t come home with me. Will they be making it into my collection – or was I right to leave them off my final list? I played each once over the weekend, so take that for what it’s worth: these are first impressions, hence ‘mini’ reviews.

Fool

(4-8 players, 45-60 mins)
Don’t be fooled (ho ho) by the 15 minutes on the box: it will only be that short if you have a player who is terrible, or incredibly unlucky. If you’re used to trick-taking, it’ll likely go a lot longer.  Fool (formerly ‘Foppen’) is more trick making than taking though, as you don’t collect tricks won: your objective is to get rid of all your cards, which you do by by staying in as many rounds as possible – if you have the worst card in a trick, you’re the ‘fool’ and miss the next hand. A typically clever Friedemann Friese design which I’d pick up if I was likely to play this type of game more often.

Decrypto

(4-8 players, 45 mins)
This is being described as a ‘Codenames killer’ by many and I can see why. While I love Codenames Duet, the multiplayer Codenames can be a little fragile: it puts the clue giver under a lot of pressure while having the potential for long downtime. Decrypto partly fixes this, giving shorter time in the hot seat for each player and keeping both teams engaged simultaneously. It’s a clever design which I’d happily play again, but I don’t feel the need to own two games in this genre (I don’t play them enough) and am happy to keep Codenames for now.

Coimbra

(2-4 players, 90-120 minutes)
I only wanted to bring back one dry euro from Essen this time, and I chose Crown of Emara over this – and I think I made the right decision, just (review incoming). Coimbra is a really solid euro design, with pretty standard card play, light engine building and point gathering being supported by an enjoyable and competitive dice auction mechanism. It reminded me a little of Lorenzo in weight and decision making, but I think I enjoyed Lorenzo a little more – but that’s a game very near the top of my wish list, so that’s no criticism. If you like auctiony sub-two-hour euro games, check it out.

Underwater Cities

(1-4 players, 2-4 hours)
This has gone from ‘how did I miss it?’ to ‘top of my want-to-play list’ to ‘dead to me’ in a weekend. Vladimír Suchý designs tend to be clever but too dry for me, but this had been compared to Terraforming Mars so I really wanted to try it. Sadly, it fell well short of my expectations. I suppose the varied cards led to TM comparisons, but they’re lazy comparisons at best: the game play is miles from it. The card play starts out engaging, but the player board (which should feel like a puzzle) adds nothing and things soon started to drag as no arc emerged. We went nearly four hours: it justified about two.

Passing Through Petra

(2-4 players, 60 minutes)
An ugly game, which wouldn’t bother me if I’d enjoyed it – but I really didn’t. For me it got the luck/strategy mix all wrong. If I play a 60 minute euro I want fun/luck/tactics or thinky/strategy: with Petra, I was thinking hard but relying on luck (cards and tiles). Get good cards or combos, you can do well – if not, you won’t. Sure, you’d get better with practice – but it will still be too luck driven. It is also very fiddly, while the ‘clever’ movement grid isn’t – you have to do a bit of everything, so moving in a grid is largely arbitrary (and done much better in Ulm).

So, my wallet is safe! For now… Apart from Petra I did enjoy my plays of the other four games (although maybe only the first two hours of Underwater Cities) and would recommend those to players who think they sound interesting – especially the top three. But I’ll definitely be passing on Petra (I’ll get me coat…).

Oh, and before anyone accuses me of liking/not liking them because I won/lost, let me assure you that is not the case and I can prove it: I didn’t win any of them 😀 And they were all played in good spirit with good people (cheers all).

Con report: Cologne & Essen Spiel 2018

Luckily this year Essen Spiel coincided with the school half-term in the UK (and will again next year) – so Sarah and me took the opportunity to spend a lovely long weekend in Cologne.

Afterwards I went on to Spiel 2018 and she headed home to be a responsible adult (them’s the breaks). And while we didn’t do much gaming in Cologne, we did find one of the best board game stores in all the land – for more on this, skip to the bottom of this post. Suffice it to say that each trip to Essen from now on is going to have to coincide with a Cologne pit stop…

My Essen Spiel 2018

As always, I had a brilliant if exhausting time in Essen. I only had publisher meetings on Friday, dedicating the rest of my time to simply looking, playing and picking up review copies of games – as well as socialising and catching up with as many people as possible.

I also spent chunks of time on both Saturday and Sunday on the Drawlab booth, talking about and signing copies of Witless Wizards: so if you were one of those that bought a copy, and particularly if we had a chat, thank you so much – it was great fun meeting and chatting to you all. The game did well and pretty much sold through the copies they had with them, which is all I could have hoped for – and all the guys (and gals) working on the booth did a brilliant job of explaining and selling the game – thank you all (again).

In terms of organisation, this was the best Essen Spiel I’ve been to (this was my seventh). While numbers rose once more (more than 190,000 came through the doors over the four days) it rarely felt ridiculously crowded. The one exception was the Galleria, which has become an unfortunate bottleneck. I understand why they fill it with kids’ stuff, but they really need a new solution for next year so this area can simply be used a smooth funnel between halls.

With the addition of a new entrance via Hall 6, it also meant there wasn’t really a hall where games went to die. Some smaller publishers in Hall 6 may dispute this, as it was mainly dedicated to everything from weird beer to cuddly toys, but overall it felt as if there was more of a flow between halls.

Games and gaming at Spiel: Hits and misses

I felt, in terms of new releases, it was an average year. The games generating buzz were often those which had limited copies, rather than the ones people were looking forward to most. I don’t think people wanted Newton more than Coimbra, for example – it’s just there were less copies of Newton available.

It’s a shame poor management by publishers still generates more buzz for a title than it actually being a good game (not to say Newton isn’t one). People – it will be in the shops soon, and it’s not as if there weren’t another 1,000+ other new games to choose from…

In terms of innovation, you don’t expect to be saying Fantasy Flight stole the show – but they did. Both KeyForge and Discover have been troubling the top of the Board Game Geek Hotness list for months and were very highly discussed, played and coveted at Essen Spiel. I’m hoping to get hold of copies of both, but the idea of every box containing unique content – but with a shared rule set – is fascinating. Even if it isn’t perfect this time around, the idea computer algorithms are starting to make their own games (in a way) is a fascinating one.

But beyond Fantasy Flight, the output from the larger publishers – for me at least – was largely disappointing: it felt more mass market and largely bereft of imagination. Titles such as The River (Days of Wonder), Azul: Stained Glass (Next Move), Solenia (Pearl) and Blue Lagoon (Blue Orange) felt derivative and unoriginal (if fine to play), which suggests to me the larger publishers are – probably quite rightly, in a business sense – targeting the ever-growing number of players new to the hobby.

My hunt for interesting mechanisms and ideas kept leading me out to halls four and five – and the great majority of games I brought home were from smaller publishers (see my list of incoming reviews here). But again, this isn’t a criticism of the big boys – more an acknowledgement that, as the market continues to grow, the priorities for the larger publishers will change in terms of what they’re aiming at this new, uninitiated public. The fact masses of new gamers seem to think Century: Spice Road is a ‘game’ (to me it’s a mechanism at best) suggests I’m part of the past, not the future!

Outside the halls: Essen itself

Finally, a few words on Essen the place, as I’ve been mean about it in the past. My first few visits to the city (2012, 2013) were a real struggle in terms of finding anywhere nice to eat or drink, but things have certainly come on in the past couple of years.

Fritzpatricks (pictured) still serves a great pint of Guinness and is the go-to place to meet up, while the Istra Steakhaus is still my favourite place to get a plate of meat and a lovely cold German beer on tap. But they’ve been joined by an ever-growing list of solid eateries on Rüttenscheider Straße and also Alfredstraße. Special mentions this year to the burgers and craft beers at Kohle*Craft*Werk and the hot dogs at Pan’s BeBop.

And finally, a hotel bombshell… After seven years in seven different establishments, I have finally booked the same place two years in a row for 2019! Congratulations, Boutique 019. You may not be in the best location, and you may not have a bar, but the fact you have a nice breakfast included, good free Wi-Fi, comfy bed and good shower makes up for that. And better still, you have single rooms at under £100 per night – pretty much gold dust in Essen during Spiel.

Cologne: Second-hand board game paradise

Being the world’s most mature board game market, Germany has a thriving second-hand game trade that stretches back into the nineties and beyond. It means you can find some amazing bargains alongside reasonably priced games that are super hard to find (and/or expensive) elsewhere.

While we largely did the tourist stuff in Cologne she did humour me for a morning in what many describe as the best second-hand board game store in all of Germany, Spielbrett. Owner Nadine Pick was great company and I could’ve spent all day in the shop.

The place really needs to be seen to be believed (check out the video snippet of one of the rooms below). An unassuming entrance leads to a series of small but jam-packed rooms full of games new and old, both in German and English, covering the history of the hobby. And I mean full – we’re talking floor to ceiling here, and some of the ceilings are pretty high. The actual collection stretches beyond 10,000 titles, with perhaps a third of that on display – but everything is catalogued, while you can enquire and even order much of it online (via Board Game Geek).

Via Spielbrett and the second-hand traders at Spiel, I managed to pick up the following:

  • Kupferkessel Co: (2001) A two-player game from Maori designer Günter Burkhardt that uses the same ‘move around the outside of a tile grid’ mechanism. I’ve been on the look out for it for ages, and this copy was still sealed. It was a SdJ ‘recommended’ back in 2002, but never got an English language release.
  • Balloon Cup: (2003) This whimsical looking yet mean two-player game has been on my radar since playing it on Yucata – but I couldn’t bring myself to get the horrible Rio Grande reprint (as Piñata). I instead picked up the original German version, in perfect condition, for a cheaper price.
  • Manhattan: (1994) Another classic (surprisingly aggressive area control) with a reprint that is no more appealing than the original; surprising in this case, as the original wasn’t exactly stellar in the looks department. Found the original German version for way under the price of a ‘new’ copy, again in great condition.
  • Thurn and Taxis: Power and Glory & All Roads Lead to Rome: (2007/8) The original Thurn and Taxis is an enduring favourite, so I kept a lookout for its two expansions. I found both second-hand for less than 20 euros each, so snapped them up. Now to get all this new nonsense played so I can get to the old stuff!

Overall, it was another brilliant trip to Germany. I just need to remember to book a few days off afterwards next year to recover…