On our new BGG Express YouTube channel, a channel devoted to publication of lightly edited convention coverage videos, I pushed out thirty game overview videos yesterday, with nearly all of those videos highlighting a new or upcoming game that we saw at the Festival International des Jeux in Cannes in February 2019. So many videos!
We used to worry about flooding the regular BGG YouTube channel with these videos, overwhelming subscribers with dozens of links all at once, but that led to me spreading out their publication to such a degree that I'd still be publishing SPIEL videos in January of the following year. Now our goal is to publish quickly, link all of the videos to their respective game/designer/publisher page, then let people discover things as they will. You might not even be aware that such-and-such a game is due out in September 2019, but ideally once it does interest you, you'll find an overview video waiting for you.
Namiji features gameplay familiar to that in Tokaido: Players are traveling along a path that gives them the opportunity to stop and do something, and whoever is at the back of the pack takes the next turn. In that overarching description, the two games are identical. The details are what differ, though, and that's what Claude lays out in this overview video.
I'm sure that some people will say that they don't need more of the same, yet that's not usually an argument people make against something like Dominion, possibly because all of the sets have components that can be mixed together, making the boxed sets feel like one game sold in multiple packages, whereas this will be two separate games (similar to Ganz schön clever and Doppelt so clever, not to mention many Carcassonne titles).
• Bauza visited the BGG booth separately to talk a bit about Last Hope, the working title for a new edition of Ghost Stories coming from him and Repos Production. The prototype for this game was in about as basic a form as you could get — text on black and white cards — and Repos didn't want to show the game on camera, but the designer could talk about what's changing in the game, so he did. The game will have a medieval fantasy setting to differentiate it from the world of Ghost Stories, and the rules have been streamlined to remove multiple pages of details and exceptions that would trip up new players, ideally allowing you to focus solely on your impending defeat.
• Tom Lehmann's Res Arcana from Sand Castle Games debuted at FIJ 2019 and has now been released in retail outlets in France, while the U.S. release should take place in March 2019. At FIJ 2019, Lehmann and publisher Cyrille Daujean played two rounds of the game with me on camera to highlight how it plays and emphasize how I will never defeat them in this game.
I had played Res Arcana twice in pre-production form at BGG.CON 2018, previewing the game afterward, so I had already encountered what it feels like to be thrashed by experienced players. Daujean repeated the experience on camera at FIJ, setting up a combo from the first turn while I was still trying to figure out what my cards did. We'll all get more experience with this game soon enough, though, so perhaps some day I'll be able to come in third...
• At FIJ, we had a somewhat more open schedule than we do at shows like GAMA Trade Show, Gen Con, and SPIEL. I had scheduled more time per game to account for language issues (more on that later), and even doing that I had filled only half the schedule prior to the fair opening. Thus, I spent a lot of my time off camera visiting publisher booths to see who was interested in showing off games that we hadn't previously seen, which led to us showing dozens of prototypes of designs that won't appear in print until SPIEL '19 or even FIJ 2020. Apparently French designers and publishers love to publicly playtest games for months and months, and we got to benefit from that, although it's also caused me to create janky BGG game pages that have next to no info so that I can link the videos to them.
Anyway, one of the benefits of having so much open time is that we didn't have to focus solely on gameplay presentation. Thus, I scheduled time with artist Julien Delval to highlight the art that he created for Res Arcana, while also talking about some of the other work he's done over the past twenty years. In retrospect, I should have been better prepared and lined up questions in advance, but that's a lesson for the next time that I have such an opportunity.
• Thomas Planete's pick-up-and-deliver game Turbulences, co-designed with Samy Maronnier, was something I spotted while walking the Palais des Festivals et des Congrès, and given the elaborate nature of the prototype, I knew we wanted to put it on camera as a still photo wouldn't do it justice. Planete creates many interesting dice as well as other all-wood gaming bits, and I was glad to feature a look at this unusual game that will be heading to Kickstarter sometime in 2019.
• One of the highlights of FIJ 2019 for me was getting to host designer Claude Leroy, creator of the fantastic abstract strategy game Gygès, to talk about the new Cosmoludo publishing line that is re-releasing some of his older titles while also bringing new games to market — or perhaps all of the titles have been previously released and we just don't have all of them in the BGG database as French-only abstract strategy games possibly don't have a huge fanbase on this site. We recorded overviews of three specific Cosmoludo titles as well, and those are among the 22 FIJ 2019 videos that remain to be published on BGG Express.
I greatly appreciate Leroy coming on the BGG livestream to demonstrate the games. Every time we post videos that feature non-native English speakers, we see a few comments from folks offended that the companies didn't have someone "competent" in English on hand to present their game, but I am incredibly thankful for all the effort that designers and publishers make to present their games on camera. They're passionate about what they do, and often they want to be the ones who present the games. I'm happy to trade some amount of fluency for passion because while you can generally find fluency anywhere, it's hard to replicate the passion that creators have for their work, and I'm glad that we can showcase it in the convention coverage that we do.