Andor Season 2

Don’t we all?

It was 2016 and I remember watching the trailer for Rogue One and getting so excited hearing Forest Whitaker speaking ominously and enigmatically. There was something gritty and dirty and threatening after the shining polish of Force Awakens. I was looking forward to seeing that movie and then in theaters I saw… a movie certainly but not quite the movie I was hoping for.

Fast forward a few years later when Andor was announced and here was a show that seemed designed in a lab for me. It was all about exploring the grey areas of Star Wars, the moral ambiguities and imperial bureaucracy. Given my love of John LeCarre and the West End Games Imperial Sourcebook I was absolutely primed to love this show and… I didn’t. Not at first anyway.

My review of season 1 of Andor talked about how Rachel and I didn’t connect with it. It felt cold and joyless. We thought it was missing something of that sense of friendship and camaraderie that so defined what we wanted out of Star Wars. We could recognize the quality of the acting and the writing but it just didn’t quite hit us in the same way we saw it hit others. A little while back I went and rewatched season 1 and I liked it more a second time around. I think some of my concerns still held up but I was in more of the right headspace to appreciate it on its own terms.

After revisiting it, I felt ready to sit down and watch season 2 and discovered that this is what I wanted all along. Season 2 of Andor is all over the place. Literally. It’s jumping through time and following so many different story lines on so many different planets. It’s a lot to keep in your head and yet they managed to pull off the trick of making you care about these people largely by showing what they have to live for – showing their connections, their families, their friends, their missions and it works. It works phenomenally.

I’m trying to parse just what it was about this season that clicked in a way that season 1 didn’t originally. I’ll confess that the secret buffet meeting based almost certainly on the Wannsee Conference and my favorite movie didn’t hurt. Was it the exploration of how fractious resistance movements are? Maybe it was the many episodes we spent among the space French which itself was based on West End Games roleplaying supplements:

Canon.

Whatever the reason, this season picked up the baton from the previous season and ran like hell. Knowing the larger scale of the story also added an amazing frisson. I’ve seen the Death Star blow up countless times and yet I could feel my heart race as these particular characters raced and fought to make that possible. It’s telling that as I finished the series I was getting into unwise Internet fights about George RR Martin and arguing that it does ultimately matter if Game of Thrones is finished because the story along the way is so compelling and Andor proves me right.

As I was watching this show an episode would end and I’d think to myself, “Wow! If that was the end of the of the season they did a great job” and there would be another episode to go and that just kept happening. The stakes were so intense and the pace was unrelenting. It was fantastic and when we got to the actual end and I saw how they tied everything up literally taking us to moments before Rogue One starts, I was floored.

Thus to all fascists, space or otherwise

I’m probably going to go and rewatch Rogue One and I’m kind of worried about it because I think Andor has built it up so much in my head and I’m going to see CG face Tarkin and all the the weirdness of that movie and its somewhat disjointed nature. But I am curious to see if Andor did the really hard job of taking a previous work of art and making it better retroactively. Regardless, I imagine I will have Forest Whitaker in my head whispering “What will you become?”

Posted in blog | Tagged | Leave a comment

Vantage

A bad thing happened to me and my family finances this month. I purchased a game largely on a whim and it’s become not only my favorite new game of 2025 but possibly…. ever. This is the equivalent of playing in traffic and finding a bag of candy; my lizard brain reward system is learning all the wrong lessons and this will come back to haunt me. That, however, is a future Leeman problem. Today’s Leeman gets to bask in the wonder that is Vantage.

To give you a better sense of my newfound obsession, this game was released two weeks ago and I was apparently the 38th person to click “add to cart” on the Stonemaier website despite knowing precious little about it except that it sort of looked like a scifi version of Tales of the Arabian Nights. Now Stonemaier has a proven track record of quality with Scythe, Tokaido, and Wingspan although funnily enough, while I can recognize that they are all good games, I have never quite fallen in love with them. There’s also the fact that this wasn’t a kickstarter but just a standalone release with little fanfare or to-do, just a confident “here’s our game, hope you enjoy.” Since it arrived, I have lugged all 10.5 pounds of it around and made no fewer than 8 of my most tolerant friends play it as well as poking its solo mode in what has to be over a dozen games so far.

The premise of the game is that players are explorers crash landing on different parts of an alien planet. Over the course of the game, players will explore biomes, engage with alien denizens, collect strange artifacts, avoid various hazards, and help each other achieve their original mission goal, their newfound destinies, or random side-quests. Imagine a less bleak version of Scavengers Reign. The art alternates between straightforward and dreamlike and the themes are abstract enough for your imagination to fill in the gaps.

Play is organized between the Location Cards which show where each player currently is and gives them options for how they want to engage with the world around them and tableau cards which represent their character, gear, sidekicks, pets, etc. On all the various cards are actions that players can choose based on six skills – Moving, Observing, Engaging, Aiding/Crafting, Taking, and Overpowering. Each of these skills corresponds to the different character roles players choose and they have their own book of results. On a typical turn, a player will pick a card and an action and then refer to the matching book and entry to see what happens as a result. Usually they’ll have to roll a certain number of Challenge Dice which has the potential to damage them. There’s a tracker for the three “hit points” – Health, Morale, and Time. If any of the trackers for any of the players hits Zero then the game (potentially) is over. To avoid taking damage, cards in a player’s tableau have open slots that can absorb these dice. Some of these slots are limited to certain skills or damage but some can even be used to help other players. Much of the cooperation of this game involves stepping in to help a teammate avoid getting hurt. Risk can also be mitigated by spending skill tokens which are accumulated throughout the game and then spent to roll fewer dice with any player being able to spend on behalf of their teammates. In addition, tableau cards also frequently take small cubes called Boosts which are used as power ups and can be spent to get bonuses and power abilities.

My original assessment of this game remains accurate although incomplete. Much like Tales of the Arabian Nights, Vantage is a game of exploring, drawing cards, making choices, and having a friend flip through books of story results based on those choices. The game then rockets off from this comparison in a couple of ways. First and most noticeably, its cooperative nature makes it feel much cozier and less capricious while avoiding the pitfalls of quarterbacking. There’s a seemingly arbitrary rule that states that players cannot show each other their Location card. Now this can partially be seen as a way to help avoid spoilers and make the game more replayable but the more immediate impact is that it gives the players ownership of their particular situation so one player can’t easily direct the others in what to do.

Secondly, while the choices and skills in Tales can feel at times somewhat disconnected with what happens in any given game, Vantage makes the results and consequences of choices matter and feedback loops start to develop as you play. If you keep choosing violence, then the violent options become more attractive over time. Same if you focus on diplomacy or sneaking or helping others. This isn’t a roleplaying game but story and a sense of play emerges and players can be rewarded for choosing the more narrative decision rather than the one that might be more mechanically efficient.

Finally, this game is a Mary Poppins bag of mechanics, concepts, and play. In the dozen or so playthroughs I’ve had over the last fortnight, I keep discovering new parts of this game. It isn’t a legacy game but it feels like it has taken some of the joy of discovery found in legacy games and imbued it in its panoply of cards and books. There is a Book of Secrets and a Book of Vantages both of which you might use once or twice in a game to get just a glimpse of what all the game has to offer. Minigames will pop up at random and suddenly you’ll find yourself doing a tricky logic puzzle or even a manual dexterity exercise. More than anything, Vantage feels like the old point and click adventure games of the 90s, complete with choosing whether to Look At, Go North, Pick Up, Push/Pull, etc. It’s like all the best parts of Monkey Island, The Dig, Fate of Atlantis, or Myst but with your friends all seated together taking turns and offering suggestions of what to do and where to go next.

I have no doubt that over time the novelty will wear off but so far I’ve discovered an almost bottomless well of delight putting this game in front of friends and seeing their faces light up when they uncover some whimsical bit of art or a new mechanic that emerges from their choices. I think it’s telling that while I could play this game by myself with little mechanical difference from playing it with friends, the joy of communal discovery and revelation is where this game shines again and again. I’m looking forward to seeing just how much joy I can squeeze out of it.

Posted in blog | Tagged | 2 Comments

Star Wars Outer Rim

In juxtaposition with my last post about Star Wars Talisman, I want to talk about Outer Rim which falls squarely in the talisman genre even if it is not part of the Talisman brand. Both games see players move around a board, collecting gear, money, and followers while getting into fights and rolling dice to overcome challenges. They both give opportunities for players to get better and more powerful as they bounce around until eventually one is able to claim victory. Whereas Talisman is a kind of Purgatory where you just go round and round accepting the vicissitudes of capricious chance, Outer Rim and its Unfinished Business expansion offers a more engaging and robust experience.

In Outer Rim, players pick characters taken from the more scoundrelly side of the setting (Han Solo, Boba Fett, Doctor Aphra, Hondo Ohnaka, etc) and then choose a starter ship either going for speed or toughness. Depending on their character, they’ll draw a random starting mission which will either be cargo delivery, bounty hunting, or a job which will calm for a series of skill rolls to achieve. These three types of missions are the main ways players will earn money and Fame. Earning a set amount of Fame is how players win the base game.

Every turn, players will either move around the board, recover damage from previous misadventures, or collect a small amount of money. Then depending on where they are, they can deliver cargo, buy cards, or carry out any free actions they’ve accrued. Finally they’ll have an Encounter which will either mean drawing a card based on their location, choosing a Contact token which will either be hidden or revealed and gives them a character to interact with, fight another player or patrol ship in their space, or use a card with an Encounter action on it. These Encounters are the real dynamic part of the game and can give the players new gear or quests or go into combat.

The fiddliest action is the Market action where players try to buy cards from the various market decks. During set up, the decks are laid out with the top card visible so players have an idea what’s available. First they have an option to discard up to two of these visible cards either because it’s not what they want or to deny it to other players. Then they can choose to buy gear, cargo, new ships, or take bounties or jobs. If they buy, they take the top card and reveal the next card in the deck which might have certain symbols on it that immediately trigger some effect. Some let the player flip over hidden Contacts where others move the various patrols on the board closer to the player. These patrols can limit movement or force a combat. They patrols correspond to 4 different factions that players will have some sort of reputation with – Empire, Rebellion, Hutts, and Syndicate.

Missions are the best way to earn money and Fame and come in three main forms – cargo runs, bounties, and jobs. Cargo is available to buy on different planets and has a destination. If the player can get it there they earn the reward. Some cargo is illegal and requires a dice roll to either acquire or deliver and can get a player in trouble if they encounter patrols. Bounty hunting consists of running around flipping over the Contact tokens hoping to find your quarry and then winning a combat against them. Sometimes these bounties will be serving as crew for other players which makes chasing them down all the more interesting. Finally there are jobs which usually have a destination planet and then take the player through a flow chart of skill tests and combats. If the player survives and gets enough successes they get the reward, otherwise they have to keep trying until they do.

All players and ships (apart from starting ships) have personally goals that both give you fame and unlock new abilities. This is a more long term way to earn fame and can help give you direction for the early and mid game.

Skill checks are fairly simple although the game uses custom dice with particular symbols that you have to learn. Whenever you make a skill check, you roll two dice. If you don’t have the skill you need to roll a critical success. If you or a crew member has the skill, you need a regular or critical success. Certain gear and ships and player abilities can tweak these checks and make them easier.

The Unfinished Business expansion is a nice buffet of options you can take or leave. New characters are introduced with corresponding challenging bounties. It also lets players travel into the more Empire dominated core worlds which lets players have a short cut from one end of the board to the other. Its biggest addition is an overarching player career goal which changes how you win the game by giving you a series of challenges and achievements you have to overcome. This can be anything from getting obscene wealth to carrying out ever more dramatic acts of resistance to becoming a pirate queen.

Like all talismanic games, Outer Rim is big and ridiculous and if you want a more brainless, less fiddly experience you can just stick with Star Wars Talisman. However, if you want a big epic story of a game where Boba Fett teams up with Chopper and Lobot to take the fight to the Empire while trying to figure out how to offload baby rancors, then this is the game for you.

Posted in blog | Tagged | Leave a comment

Star Wars Talisman

Talisman is both a brand and genre of game and I’ve been playing both since 1989. (For more in depth takes read this.) As a game it is long, repetitive, unbalanced, and somehow completely addictive to children’s brains. A decade ago, a Rachel and I were hosting British boys whose choir was touring Canada and, not knowing how else to entertain them, I pulled out Talisman and they were hooked, requesting that we play every chance they could. My kids likewise go through stages when they demand we pull it off the shelf so we’ve invested in various iterations that The OP Games has put out, including the Star Wars version.

The original game was fantasy flavoured with an expansion adding scifi elements lightly lifted from Games Workshop’s Warhammer 40k setting but the prototype design was based on British schools (no really) so the mechanics lend themselves to practically any setting and given the ubiquitous popularity of Star Wars, this pairing was, if not inevitable, certainly predictable. There’s also Batman version along with Harry Potter, My Little Pony, and Kingdom Hearts. As kf

In Talisman, you roll dice, move around a board, draw cards, fight monsters, collect followers and objects, level up, and eventually work your way into the middle (if you possess the titular Talisman or equivalent object) to win the game. The Star Wars swaps out swords for blasters, orcs for stormtroopers, good vs evil alignments for light vs dark side and graveyards for Mustafar. Otherwise, the only real changes are using the dark and light side alignment matter with interacting with different characters so you don’t wind up with Luke Skywalker going on space adventures with Grand Moff Tarkin and the end game which has players fighting the Emperor rather than each other.

The art is decent but not amazing. It’s pretty much exactly what you’d expect from a mash up like this. Some of the stats don’t make a ton of sense thematically but all in all it’s a solid workhorse game that gets you through all the beats of fighting folks and getting stuff which is the hallmark of these sorts of games. If you have any one iteration of Talisman you essentially know what any other kind will be like so collecting multiple versions isn’t particularly necessary but especially if you have kids with particular tastes, having options can be enjoyable.

I still prefer the clunky 80s-ness of the original.

Posted in blog | Tagged , | Leave a comment

Heart

Tragedy is a challenging theme for roleplaying games to explore. When pitching a game to friends, GMs often have an easier time evoking images of heroes and/or scoundrels gaining fame, power, and riches rather than offering up a literal descent into a turbulent , kaleidoscopic hellscape which will inevitably end in some sort of personal loss or destruction. However, I think GMs would do well to listen to my 5th grader’s teacher who was fond of saying, “you can do difficult things!” Rowan Rook and Decard agree and offer some enticing qualities in their Ennie award winning game Heart to help you make the pitch.

Set in the same drow world and literally the same zip code as Spire, Heart replaces the espionage and steampunk shadowrunning of its sibling for what at first glance appears to be a more traditional dungeon diving game. Players are a ragtag group of social misfits with dangerous powers and apparently no responsibilities to attend to beyond exploring, fighting, pilfering, and occasionally returning to society to recuperate and sell their questionably acquired goods. Like Spire, players have skills, areas of expertise, unique abilities, and questionable gear to help them overcome challenges while taking damage not only to their physical frame but to their sanity, souls, and credit score.

From the get go, this game departs from their well worn grooves of the mainstay of the hobby. First off, unlike most games, they are asked to explicitly state why they are choosing to forego the relative safety of uhhh not dungeon diving to their current occupation. This question of motivation is not just a fluffy one for drama majors to consider but has mechanical impacts, indeed it determines how you level up and gain new powers. It’s not enough to bash a requisite number of lizardmen, acquire enough diadems, or even just get to whatever chapter break your GM has written down; players have a laundry list of Beats and every session they give two of these beats to the GM like a sushi order. These can be to take a certain amount and kind of damage, to explore a particular locale, betray a loved one, undergo a ritual, etc. The GM is expected to take all these Beats and use them as guidelines to direct how a particular session or campaign goes. This means that whether the heroes are motivated by helping communities thrive, uncovering dangerous secrets, or because shady cultists are blackmailing them has huge ramifications on what happens in any given game and if they want to get the shiny new abilities that come with leveling up, they have to cooperate with the GM to reach those Beats.

The powers and abilities come with the player’s class which are a carnival mirror reflection of traditional fantasy games. Instead of Fighters you have Dogs who are sort of reincarnated members of a doomed regiment. Instead of Rangers you have Carvers who lust for the blood and viscera of the creatures dwelling in the Heart to imbue themselves with feral power. Instead of Clerics you have Heretics who can’t show their face in the City Above but are free to worship their seemingly indifferent lunar goddess in her various forms down here. Instead of Bards you can be a Deep Apiarist and just be full of bees. All of these classes have a tantalizing menu of powers that are unlocked by meeting the Beats. There are corresponding Minor, Major, and Zenith beats and abilities and deciding when you want to risk going after the higher powers is a huge part of the gameplay. In theory, players could swim in the shallows of minor Beats and powers indefinitely but the game breaking opportunities that always sing out from these lists prompt them to delve into deeper and stranger perils.

The process of delving is mechanically defined even as it’s given a lot of room for improvisation and on the fly storytelling. The game makes distinctions between Landmarks which are defined locations, communities, temples, dangerous and psychedelic abattoirs, etc and Delves which are the tunnels and passages and liminal spaces that connect them. Each of these areas are made of thematic Domains which provide color and also tie in to player expertise. Religious characters will be more adept at navigating Religious spaces while Wild characters will come into their own handling encounters in Wild areas and so on. The game suggests mixing and matching these Domains particularly in the connecting Delves which gives the GM the creative prompt of trying to imagine what a Wild and Religious space or Desolate and Technological corridor would look like. Another rule is treating the Delve almost as its own ongoing combat with the equivalent of hit points which go down as the players explore or overcome challenges, or use their ever increasing powers to blast short cuts. This is a clever way to abstract the travel process without having to map out every hallway or 10 by 10 room and let everyone have a sense of progress. It’s similar to the countdown clocks in Blades In the Dark which is a system I really like for making it clear to the table what’s at stake and how the pacing is ticking along.

Beyond the vivid setting and body horror, what truly gives Heart its unique drive is that commitment to tragedy and game architecture that takes you there. Characters can always give up and leave which is one tragic ending or they can continue to burrow deeper looking for what brought them down here and maybe even achieve it and that’s a different tragic ending. What gives it all potency is that, like all the great tragedies, it’s all built on the choices they make. What it loses in this structure is the potential for sprawling, long term play that often defines other dungeon crawlers. This is not meant to be a marathon but a sprint where players see the gory finish line practically from the start.

I like Heart and while I think it might be a hard sell for a lot of groups, the ones that buy in have the potential for an immensely rewarding experience. It’s an ambitious game that takes big swings and doubles down on its core themes over trying to have broad appeal and I respect its artistry and its passion and look forward to getting hot and messy with it.

Posted in blog | Tagged | Leave a comment

Episode 90: Disney (Lost Episode)

Rachel and I talk about Disney!

Topics discussed and/or spoiled: Debs & Errol, Disneyland, and my Mad Disney Video,

Posted in Episodes | Leave a comment

Episode 89: Rian Johnson (Lost Episode!)

We talk about the works of Rian Johnson. Originally aired on Facebook Live on May 11, 2020

Topics Discussed and/or spoiled: Knives Out, Last Jedi, Looper, my interview with Bill Slavicsek, and Inception.

Posted in Episodes | Leave a comment

Episode 88: Mike Schur TV (Lost Episode!)

Rachel and I talk about all the great TV that Mike Schur has been up to his elbows in over the years. First aired on Facebook Live on May 4, 2020

Topics discussed: Taika Waititi’s still as of 2025 untitled star wars project, The Mandalorian, Parks & Recreation, Good Place, Brooklyn 99, and The Office(s)

Posted in Episodes | Leave a comment

Episode 87: Musical Theater (Lost Episode!)

The first of our Lost Episodes series! Technically they haven’t been lost yet but with Facebook removing all old live videos at the end of the month, we wanted to make sure there was a home for our COVID-era episodes, starting with our musings on all things both musical and theatrical from April 27, 2020!

Topics discussed: Crazy Ex Girlfriend, The Sondheim Celebration, Les Mis, Hamilton, Hadestown, SIX, Come From Away, Wicked, Parade, Urinetown, Sweeney Todd, Phantom, Zip!, Into the Woods, Free Solo, 127 Hours, Avenue Q, Guys and Dolls, Oklahoma, Cinderella, Sound of Music, Gigi, Gypsy, Beetlejuice, Mama Mia, Galavant, Glee, Greatest Showman, La La Land, Buffy Musical, That Song In Every Musical That No One Likes, and Aladdin

Posted in Episodes | Leave a comment

War of Whispers

There are many games where players move armies around a map to seize and hold territory in order to secure victory. These games can have a King of the Mountain energy where obvious winners inspire other players to set aside their differences to unite in dragging them down or neck and neck players try to convince everyone else at the table that their rival is the real danger, not them. From classics like Risk to Diplomacy to big chunky wargames like Twilight Imperium or Game of Thrones, these games are often big, long, affairs where hours of planning and maneuvering are rewarded or not. War of Whispers by contrast is a fast game lasting only 4 rounds and around an hour and yet in that time it manages to capture a lot of the elements that makes those larger games so compelling while also subverting them.

In War of Whispers, players are not representing the different empires and kingdoms at war but rather the secret societies, cults, and conspiracies maneuvering in the shadows and manipulating these larger forces. They’ll share control of the kingdoms and try to manipulate the wars to their favour.

At the start of the game players randomly shuffle their ranking of the different kingdoms that will determine how many points they’ll gain or lose depending on how the war shakes out. In this way the game has more in common with gambling on a horse race or buying stocks than with just straight up trying to grab Kamchatka before anyone else. These rankings are secret and keeping that information privileged helps prevent your rivals from sabotaging your goals. However, empires fall and sometimes it pays to switch bets so between rounds, players can swap their rankings between two kingdoms but in so doing they flip over their tiles and reveal what their new rankings are.

Every round, players assign agents to the different officers tasked with running this war which gives them the ability muster troops, draw cards, and attack rival kingdoms. There are no restrictions on how many agents from which factions can be on any given kingdom so you can very well see a turn where one player raises an army and another player sends that army in the complete opposite direction of where the first player wanted. Combat couldn’t be simpler with armies canceling each other out, no dice needed. The cards allow players to swap out actions or move armies around unexpectedly or can even cause dramatic upheavals.

As the game goes on, more and more agents get added and control gets more complicated as everyone gets a better idea who is in favor and who isn’t. By the end some kingdoms will be mighty empires astride their conquered rivals or burnt out war zones, or colonized husks of their former selves. When the smoke clears, players reveal all their rankings and score based on how many cities the kingdoms control.

War of Whispers is a deeply clever game that plays remarkably differently every time we bring it to table. There isn’t a great deal of table talk because so much of the game is trying to misdirect and hide your intentions although it can be a lot of fun to roleplay the hapless kingdoms who just can’t seem to catch a break. If players have similarly ranked kingdoms they can be unknowingly working together. Similarly when one kingdom is everyone’s bottom pick that creates hilarious devastation. It feels almost like a meta-war game with the grand schemes and bold tactics being reduced to opportunistic sabotage and sudden betrayals. The cards create the most unpredictable chaos and I can see them frustrating players with the way they can upend things but I appreciate the threat they pose and the arms race of collecting one’s own cards to have on hand to even things out.

I have the deluxe version which comes with the larger pieces which makes the board pop and apparently makes reading the board state a lot easier. It also adds additional cards that provide more variety. Not a deal breaker but definitely adds to the game experience. Whichever version, I have had great success putting this in front of my friends and heartily recommend.

Posted in blog | Tagged | Leave a comment