It’s soooo good: ‘Backroads’ by Lonely the Brave

League of Extraordinary BloggersSorry, bit late on this one but it proved trickier than I’d though. A week ago I simply said to myself right, the next time I think, “That is soooo good”, I’ll write about it. But that hasn’t happened until today – hence the delay.

I’ve not had a crappy week. In fact it was pretty busy; trips to London and Brighton, a one day music festival, gaming with friends. And while I saw some great bands, played some great games, saw some cool things, nothing really got the goose bumps going.

But today I wake up with a song in my head. I get up to start work, fire up YouTube and put it on. The song feels pretty old to me as they’ve been going a few years, but it’s only really getting out there now as the band’s album has finally been released after delays.

They seem to have recorded a video to it back in June, which has added even more poignancy to an already remarkable tune. I just sat back, watched it, then watched it again. And again. I thought, blimey, this is soooo good. So here it is – enjoy. Then enjoy it again, louder. You’re welcome.

 

Saw things that the rat saw
And my eyes couldn’t take them in
Just want to fall here silently
Into the arms of people I love
Under waiting stars as the ships come rolling in

But look at the way the faces turn
Eyes burn why (eyes burn why)
If you be the sky then I’ll be the bird
But look at the way the faces turn
Eyes burn why (eyes burn why)
If you be the sky then I’ll be the bird

So the power lines were leaning
And all was lost
Make a vow with the city lights
With your fingers crossed
You said I’d be a place and time
Said I’d be a man
Making eyes with a sea of lies
So you understand
That you’re raping on my dreaming
And you’re ruining my best made plans

The rat he turned and bared his teeth at you
The wake is calling, what you gonna do?
But your head’s gone
And it won’t be long
The rat he turned and bared his teeth at you
The wake is calling, what you gonna do?
But your head’s gone
And it won’t be long

So the sinners stopped and the villains turned
And I’ll be the sky and you be the bird
Let’s meet the mountains and see what they heard
And I’ll be the sky and you be the bird

And I’ll be the sky and you be the bird (x4)

Other soooo good offerings from the league:

CONtemplation: Essen Spiel 2014

League of Extraordinary BloggersThis week’s league post assignment was CONtemplation, with the idea being everyone would talk about the San Diego Comic Con. But seeing as I couldn’t give a monkey’s about the ‘SDCC’ I figured a nice positive post about a con I do like would be preferable to one criticising one I don’t.

For me, there is but one con: the International Spieltage at Essen, or simply ‘Essen’ for short. It’s a four-day board and card game trade fair in October – with the twist being that, despite being a trade fair, it is open to the public. This gives it a uniquely chaotic feel, as publishers try to juggle paying consumers, business owners and game designers all in one packed convention space.

Over the four days something like 150,000 gamers head through the turnstiles into what feels like the world’s biggest jumble sale. Household names with huge elaborate stands such as Hasbro share the space with tiny one-man-band publishers, and all in the name of shifting units and striking deals. There is not a room to play games, or a series of lectures to attend – this is purely about demos and dollars.

Thursday morning, Essen 2012, just before the floodgates opened

Thursday morning, Essen 2012, just before the floodgates opened

But this is the biggest annual event in the world for new releases (500 games are launched every year), so people come from all over the globe – and come for the four days, taking over every hotel in the city.

Convention hours are for testing and buying – the evenings are for heading back to your hotel, reading your rules, then heading into the packed bar to game with friends and strangers alike.

While it may sound odd versus a normal con, I love this clear delineation between shopping and socialising; when you think about it, it’s actually far more natural. And it really is a standard shopping experience; there are new releases, second hand stalls, bargain knock down stock, plus everything in between – as long as it’s a game. You’ll find a few comics, accessories etc, but it must be less than 10% of the con space.

And the shopping aspect adds another unexpected benefit: an almost total lack of hard sell. The people coming to Essen WANT to give the stalls their money. They’ve been saving up, godamnit, and they are going to spend their entire gaming budget on stuff RIGHT NOW. When you see a booth worker without a customer you can guarantee they’ll be taking a breath, having a drink; they know someone will be along to hassle them soon.

Shafausa designer Christophe Borgeat demos his game.

A typical demo table at Essen

Last year I went as a designer too – at the lowest of low levels. In fact I only attended one publisher meeting, which was scary enough.

Hopefully this year I’ll be going as a designer with a game that’s actually on sale, adding another dimension to my Essen experience. And if I can get some of my games other prototypes to the next level in time, maybe I can take another small step up the designer ladder too.

But whatever happens, I’ll be there first and foremost as a gamer. I will queue pointlessly on the first morning and be swept along by the excited masses, wide eyes and mouth open, as we squirm into the halls. Then once the wave of enthusiasm has broken I’ll just drift around the stands, a stupid smile plastered over my face, keeping a keen eye out for bargains and spaces at interesting looking demo tables.

I don’t think that’s the average Essen goer’s experience, but as someone who has spent much of their former life in crowds I actually find it quite soothing. I spent years living in London, working in retail, working/attending conferences and generally fighting a crowd. It’s novel and strangely peaceful to now bob around in one. I can do it all day, every day, for the whole four days, watching the little changes – a game sold out here, a price drop there.

It’s still three months away, but I’m already starting to plot my bargain and new release lists. My hotel is booked and as today is payday, this weekend I’ll book my trains (Germany is a pleasant train journey from England now, thanks to Eurostar). And no, cheeky, I can’t tell you how many sleeps it is to go. Ask me again in a few weeks…

More extraordinary blog posts:

The Manhattan Project: A four-sided game review

manhattan project boxThe Manhattan Project takes players back to the 1940s, as the world’s superpowers struggled to perfect the ultimate edge over their enemies; the atomic bomb.

While in many ways a standard worker placement game (2-5 players, two hours), Brandon Tibbetts’ game adds enough interesting twists to peak the interest of anyone with an interest in this style of game. Since its relatively low key 2012 Kickstarter release it has steadily garnered an enviable reputation.

Players place workers into buildings on both their own and a central action selection board. These allow you to mine ‘yellow cake’, enrich plutonium/uranium and design bombs – as well as upgrading workers to engineers or scientists to better fulfil these tasks.

You can buy your own buildings to do these same actions more efficiently; but there’s the options for building squadrons and air-striking your enemies (and to repair buildings). Or perhaps you’d prefer espionage, infiltrating other players’ buildings to use as your own?

Once your bombs are designed and your fuel ready, it’s time for testing; but can you do it quicker than your opponents? The key is efficiency, as whoever tests the right victory point total’s worth of bombs first immediately claims gold in the nuclear arms race.

Teaching

manhattan project rulesThe first thing to mention is the rulebook; it’s one of the best I’ve read. Anything carrying the ‘Kickstarter’ tag makes me nervous, but The Manhattan Project’s is master of both style and substance, nailing the theme (with newspaper style layout) and the rules with real clarity.

Anyone that has played a worker placement game will have little trouble picking things up, while it isn’t a bad game to teach players stepping up from gateway games. There is very little hidden information and turns build in complexity as the game goes on, so it’s pretty easy to give advice as you go too.

The biggest twist is how workers are managed. Each turn a player decides whether to place workers or bring them all back home. This can get pretty strategic, as you may want to leave a worker in a blocking position – but for how long? When you bring workers back, they all come back. Tied in with the espionage mentioned earlier, played well this can be devastating. It is also easy to learn and understand, as turns are pretty quick.

The key point to ram home as you teach is this: Manhattan Project doesn’t end after a set number of rounds, with everyone tallying victory points. It ends when one player reaches the target number of points (determined by player number), which can come as a bit of a surprise as the bombs are the only bit of hidden information in the game.

manhattan project bomb cardsThere’s an amount of bomb cards on display equal to the number of players plus one. When you choose ‘design bomb’ you pick them all up, keep one, then pass them on.

Each player takes one, with the person who chose the action getting the spare bomb as a bonus. This means everyone knows what bombs are out there (values/complexity vary), but is guessing who has what – and you don’t have to complete them all.

You can make a pretty good guess, but you never know quite how close each player is from laying those bombs and hitting the point target – and you can guarantee at least one player would’ve finished in their next turn. This creates a delicious tension around the table which has just the right feeling to fit the theme.

The four sides

manhattan project main boardThese are me, plus three fictitious amalgams drawn from observing my friends, and their respective quirks and play styles.

  • The writer: It’s hard to think of a game that better marries theme with mechanisms while still being 100 per cent ‘middle weight euro’. There’s very little luck and hidden information, but what is there becomes the real focus of the game without taking over – a really clever piece of slight-of-hand by the designer.
  • The thinker: While I admire both the mechanisms and the engine, I find not knowing when the game will end a little frustrating – but that is not a knock on the game. You need to alter your strategy to make sure you have the leanest production line to make exactly what you need, not particularly most productive, as all you need to do is get over the line. This twist makes the game endlessly fascinating.
  • The trasher: I have a love-hate relationship with The Manhattan Project. On one side I love the tension and the ability to screw your neighbour; but getting into a private battle tends to hand the game to another player who will sit back, not help, and profit from the fallout – there is rarely reward for aggression, except perhaps with two players. My advice is keep your eye on the quiet one – because they’re probably the person who’s winning!
  • The dabbler: First of all – how can those weird little workers with no faces have so much personality?! Seriously though, this game has a great story arc; nothing beats it for tension when you’re near the end of the game, trying to work out who is closest to the finish line. For one the climax, for the rest the anti-climax – but we all have a story to tell afterwards. Isn’t that the real point behind a gaming session?

Key observations

manhattan project workersThere are some accusations of underdevelopment – usually shrouded in a dig at it being a Kickstarter game. I can see this point of view a little bit, especially as the comments often come from ‘one and done’ players who have been put off after one poor experience – a very real problem in such a busy board game market.

It centres around one main point: there is no reward for aggression. This means that if the random cards favour one player who gets ahead, there is little reward for a player going after them – it simply opens the way for whoever is second to come through. Of course there’s nothing to stop players making deals – you send your fighters, I’ll send my bombers, you hit him with espionage etc. But it is a shame the game doesn’t deal with this better – and even more so that it doesn’t look as if the game’s expansion, The Second Stage, tried to tackle the problem either.

While garnering at least two-thirds positive reviews, the same old lazy comments also resurface: accusations of it being a generic worker placement euro that adds nothing new – largely from players who obviously don’t like worker placement games or who missed the fact it clearly has several interest new mechanisms. Why do they bother? Thankfully they’re in the minority.

Conclusion

manhattan project player boardThe Manhattan Project sits high in my top 20, with Tzolk’in the only worker placement game ahead of it, and is one of the few games I rate a 9.

My plays are into double figures and while I don’t feel I’ve explored many of its strategies, it still feels like a fresh experience each time. And even if it does start to get old, there’s a well regarded expansion available too.

The components, rulebook and art style really do stand out. I’m not one to turn my back on a game for its looks, but I appreciate quality: this is one of the most stylish games I own. From the cool workers to the ashtray and coffee stain on the board, it’s just gorgeous.

manhattan projectWhile the ‘take that’ nature of some of the actions may put some off, it’s surprising how many games are devoid of anyone using them at all; in a tight game they can seem like a waste, but someone looking like a runaway leader may well get a sound shoeing – but it’ll be their fault for showing their hand too early.

The Manhattan Project is a game I’d highly recommend to everyone who likes worker placement games, as well as to practically everyone else – it’s well worth the £30 price tag. Just keep your bomb plans close to your chest, and keep an eye out for those crafty espionage moves…

Check out these alternative takes on ‘The Apocalypse’ theme from esteemed members of the League of Extraordinary Bloggers:

My pop culture road trip to… Seattle

image Growing up, I became obsessed with music. It started in my early teens with the perfumed pop of Duran Duran and Soft Cell, morphed briefly into brooding Goth before landing squarely in the UK indie alternative scene of the late ’80s.

For a while it was a very English thing for me, but around 1988/89 that got turned on its head by grunge. I was working in a London record shop at the time and remember talking to the Southern rep about the next big thing. It was something different, and wrong, every month but hey, he had to get it right one time; and that time was Sub Pop.

LameFest UK (Nirvana, Tad, Mudhoney at the Astoria, London) was a blistering experience. It was as if someone had taken the energy and excitement from punk or metal, and added feelings and desperation to replace pomp and bullshit. My music had just grown balls. That first Peel Session from ’89, kicking off with ‘Love Buzz’, still sounds fresh and vital today.

My love affair with the Seattle grunge scene was fittingly short lived. By Nirvana’s epic Reading show in 1992 I was tiring of that thump thump thump, my record shop education having opened doors to everything from traditional folk to hip hop. But it still hurt when Kurt suddenly decided his time was up a few years later.

But the list of important Seattle bands is a lot longer than you’d expect from an otherwise unremarkable, unfashionable American city. Ray Charles in the ’50s, Hendrix in the ’60s, grunge; then Band of Horses, Foo Fighters, Fleet Foxes, Sunny Day Real Estate, Kenny G… There’s always one.

While I’ve been to hundreds of gigs and festivals and have bought 1000+ CDs over the past 30 years, the anti-romance of Seattle has stayed with me; it has a scruffy, unkempt quality I can relate to. So you can keep Liverpool and New York, Manchester and Austin; Seattle is still my musical Mecca.

This love affair has been rekindled in recent years by the remarkable output of Seattle radio station KEXP. I found it quite by accident while surfing YouTube for something to listen to. I don’t even remember what it was I found; and it says a lot that the radio station stuck in my mind more than the music. Here I was, watching a live HD radio session with fantastic audio. I was hooked – it remains the one thing on YouTube I’m subscribed to.

So here’s to Nirvana, and to KEXP, and to everything else that’s musically magnificent about Seattle. I’ll make it there one day; let’s say it right now – before I’m 50, I WILL go to Seattle. And of course it helps that it’s a couple of hours from Canada – a country I’d love to spend some time in. Until then though, I’ll keep it tuned to KEXP.

More (possibly slightly more exotic) League of Extraordinary Bloggers’ road trips: