Tag Archives: Ghost Stories

Boardgames in the News: Asmodee Acquiring Again

The development of Asmodee from a small French games company primarily known for clever little kids game like Dobble and Jungle Speed, into an industrial conglomerate has been covered extensively here.  Over the last decade or so, they have acquired Days of Wonder, Fantasy Flight Games, Z-man Games, Mayfair and Lookout Spiele amongst others.  They have also leveraged control of the distribution network through the purchase of Esdevium (UK), Heidelberger Spieleverlag (Germany), Hodin (Belgium), Asterion Press (Italy), Millennium (Spain), FRED Distribution (USA) and agreements with Rebel (Poland), and Alliance Game Distributors (USA).  These acquisitions tend to come in flurries presumably as funds are made available and it seems they are in the middle of another one now.

Asmodee Logo
– Image from

In March last year, Asmodee signed a deal with CMON Ltd., to exclusively distribute the publisher’s board and tabletop games in North America.  Distribution agreements happen all the time because they help distribute costs between companies as well as distribute games to gamers all over the world.  What makes this agreement slightly more unusual is that CMON are a US company that have been successfully distributing their product across the USA.  Where Asmodee are concerned, a distribution agreement announcement is usually followed by more announcements, and this was no exception.  Over the Summer, Asmodee announced a similar distribution agreement with the Swiss publishing house, Helvetiq, and acquired the French-language boardgame site, Tric Trac.

– Image from cmon.com

For eighteen years from 2000, Tric Trac was an independent enterprise with some 40,000 members directed by Monsieur Phal (aka Philippe Maurin).  In 2018, Flat Prod SARL (the parent company), sold Tric Trac to Plan B Games, a new company that grew out of the fallout of Asmodee’s acquisition of F2Z/Filosofia/Z-Man Games etc., in 2016, and won the Spiel de Jahres Award with Azul.  Tric Trac has been more commercial than the popular US-based, English-language website BoardGameGeek, which has been running for a similar length of time.  However, there have long been suspicions of that Asmodee have received special treatment from Tric Trac, suspicions fueled by the fact that the parent company Flat Prod SARL was formed by Philippe Maurin and the company Plume Finance, which is wholly owned by Marc Nunès, original CEO of Asmodee.  However, with Asmodee being such an important part of the French boardgame industry, it is perhaps unsurprising that their games take a lot of space on French website dedicated to boardgames. 

Tric Trac Logo
– Image from trictrac.net

With France’s foremost website in the hands of such a dominant force, there are concerns about a lack of critical objectivity and that Tric Trac could ultimately become a promotion channel for Asmodee.  It may be that with the retirement of it’s founder, Asmodee bought Tric Trac to ensure its survival and make sure the source of French-language boardgame media remains available and there is no sinister motive.  They have promised the team editorial freedom, but it is highly likely that Asmodee are the ones benefiting the most from the site anyhow, simply because they’re the biggest player in the market, especially given their history as a French company.  Since then, however, Asmodee have signed another distribution agreement, this time with Funforge, to distribute the French publisher’s titles in the U.S., and today they announced the acquisition of the Belgian publisher, Repos Production.  Repos are best known for games like 7 Wonders, Ghost Stories, Concept, Ca$h ‘n Guns and this year’s Spiel des Jahres winner, Just One.  Sometimes it seems like every successful company is a target and soon Asmodee will have a strangle-hold on the modern boardgame market.  Some people say they already have.

Repos Production
– Image from google.com

Boardgames in the News: Cooperation and the “Alpha Gamer Problem”

Competition is one of the main characteristics people associate with board games, however, in the modern world of Euro games, this is no longer true.  Firstly, one of the primary qualities of Euro games is the lack of “direct interaction”.  This means that although there is competition, it is difficult for players to be “nasty” to each other.  This is an important aspect of modern gaming as it takes away the aggressive element and makes them more inclusive, particularly for families.  These games still have winners and losers though, and while everyone likes winning, nobody likes losing and some people really, really hate it.  This is where “cooperative games” come in:  instead of players competing against each other, everyone works as a team, trying to beat the game.

– Image used with permission of BGG contributor kilroy_locke

There are now hundreds of cooperative games available, but although the first of these date back to the 1960s, the explosion really happened about ten years ago following the release of Pandemic.  Designed by Matt Leacock, Pandemic is a very accessible game where players are disease-fighting specialists whose mission is to treat disease hot-spots while researching cures for the four plagues before they get out of hand.  The game board features the major global population centres and on their turn, each player can travel between cities, treat infection, discover a cure, or build a research facility. The clever part of the game is the two decks of cards that drive it.  The first of these enables players to travel and treat infection, but also contains Epidemic cards that accelerate and intensify the diseases’ activity. The second deck controls the “normal” spread of the infections, with players drawing a set number of these, that increases when Epidemic cards are drawn.

– Image used with permission of BGG contributor kilroy_locke

Since Pandemic, a large number of cooperative games have been published, including Forbidden Island, Forbidden Desert and Forbidden Sky, all of which use cards in a similar way to Pandemic to increase the threat.  All of these have been designed by Matt Leacock and have a very similar feel, though a different theme.  There have also been a number of variations on the Pandemic game which retain the original theme, including the well-regarded Pandemic Legacy titles which change the feel a lot.  Other similar games by different designers include Ghost Stories, Freedom: The Underground Railroad and Flash Point: Fire Rescue, each with a different theme, but with changes to the mechanism (Flash Point for example uses dice instead of cards) and varying degrees of difficulty (Ghost stories played with four is supposed to be one of the most challenging games of its type to win).

Forbidden Island
– Image by BGG contributor DLCrie

Not all cooperative games are family friendly and accessible.  Arkham Horror is set in the H.P. Lovecraft‘s Cthulu mythos.  Each player is a resident of or visitor to the fictional town of Arkham, Massachusets during the 1920s and takes the roll of a character ranging from a gangster to a college professor.  The players discover a nefarious cult attempting to awaken a great evil, and, to prevent an invasion from other realms, they must seal off access to Arkham.  To survive, players must equip themselves with all manner of weapons, and spells, while searching for clues to aid them in their mission.  The game has a substantial rule set and the games are epic experiences which take four to five hours to complete (and are therefore not for the faint-hearted).

Arkham Horror
– Image used with permission of BGG contributor kilroy_locke

While there is plenty of variety available with cooperative games, there are two often cited problems.  Firstly, many players find that cooperative games lack “something”.  In reality, this is largely just a matter of taste, in the same way that some gamers feel that “Euro Games” lack something when compared with highly random dice-heavy games with player elimination.  Perhaps a more fundamental issue is that of the so-called “alpha gamer”. This is where one player effectively becomes the general, and tells everyone else what to do.  This problem arises because most cooperative games are essentially puzzles that can be solved by one player.  Some games designers have tried to fix this issue by adding hidden information, usually in the form of cards, and a rule that players cannot share such knowledge.  Simply instructing players not to share knowledge is much easier said than done, however, as even a slight inflection in the voice or a change of expression can give away a lot of information.

– Image used with permission of BGG contributor aleacarv

In 2013, a very simple, yet clever card game called Hanabi won the Spiel des Jahres.  The idea is that instead of every player looking at the front of their hand of cards and showing the backs to all the other players, hands are held the other way so that each player can’t see their own cards, but can see everyone else’s.  In principle this means players can discuss what a player should do, but a lot of information can be given away accidentally.  For this reason, the best, most intense games of Hanabi are played in near total silence and stony faced.  This is actually extremely hard to do, which is why for many, The Game, a similar cooperative card game nominated for the Spiel des Jares in 2015 has proved to have more longevity.  This is because players can discuss anything they like as long as they never give away specific number information.

Shadows over Camelot
– Image used with permission of BGG contributor kilroy_locke

One of the early cooperative games was Shadows over Camelot, which is a hand-management and deduction-based board game where players are knights of the Round Table collaborating to overcome quests like the search for the Holy Grail.  In order to get round the “alpha gamer” problem Shadows over Camelot introduced a traitor mechanic.  At the start of the game, players are given a Loyalty Card, one of which says “Traitor”.  The player that draws the Traitor card then tries to sabotage the efforts of the Loyal Company.  Initially the Traitor hides within the Company, so players have to be very careful about what information they disclose as the Traitor could use it against them.  Worse, players have to be very careful about what information they believe as it could be given by the Traitor in an effort to mislead.

Shadows over Camelot
– Image used with permission of BGG contributor kilroy_locke

Initially, the Traitor acts as one of the loyal knights, but as suspicions mount, players can accuse others of being a traitor.  If outed, the Traitor’s actions become more limited, but potentially more devastating.  Stacking the deck in different ways can be used to introduce different levels of doubt.  For example, four players drawing from eight Loyalty Cards including one traitor, are unlikely to to have a traitor, but the possibility is just enough to keep people on their toes; at the other extreme, if there are no excess cards a traitor is guaranteed.  One of the problems with the hidden traitor in Shadows over Camelot though, is that it doesn’t scale well with the number of players: seven knights playing against one traitor are still likely to win, whereas three knights are always going to struggle.

Lord of the Rings
– Image by BGG contributor fubar awol

In Shadows over Camelot, the scaling problem was fixed with the Merlin’s Company expansion, which introduced a possible second traitor.  Expansions also arguably improved one of the most intense, cooperative games, Lord of the Rings.  This twenty year old game follows the journey of the Fellowship of the Ring, with players taking on the roles of the hobbits.  It is also a card driven game, which players lose if the ring-bearer is overcome by Sauron, or win if the Ring is destroyed by throwing it into the volcanic fires of Mount Doom. The Friends & Foes and Battlefields expansions add complexity and variety, while the Sauron expansion introduces a semi-cooperative element with someone actively playing the Dark Lord.

Lord of the Rings
– Image by BGG contributor takras

The semi-cooperative, “one versus many” style of game is not new, indeed it was the core mechanism of the winner of the 1983 Spiel des Jahres Award, Scotland Yard.  A staple of many charity shops, this is still a popular family game that still holds up more than thirty years later.  Although modifying the cooperative nature solves the “alpha gamer” problem, it doesn’t fix the other problem:  if one player is significantly weaker than others, everyone suffers.  This is issue inherent in any team game: the team is only as strong as its weakest link, however, it is a particular problem when the weak player is the Traitor.  This is actually a problem in any game where one player has a pivotal role though; Codenames, for example, can be a truly awful experience if the wrong person gets the job of “Spy Master”.

Scotland Yard
– Image used with permission of BGG contributor aleacarv

Despite the issues associated with cooperative and semi-cooperative games, they continue to be very popular.  In the recent years, The Game and Hanabi have featured strongly in the Spiel des Jahres awards and nominees, while the top two games in the BoardGameGeek ranking, Gloomhaven and Pandemic Legacy: Season 1, both feature cooperative play as well.  With epic campaign games like Kingdom: Death Monster and The 7th Continent continuing to build on and develop the mechanism, cooperative games are clearly here to stay, even if they aren’t suitable for every group.

Kingdom Death: Monster
– Image by BGG contributor haslo