As you’re shooting the moon and whooping serious Empusa ass, it stings like a mother when the Geryon Knight gives you the blade. The challenge is that if you are hit by one of the AI controlled enemies your combo is physically wiped from the table and no points are awarded. There is great tension as you must decide whether to leave your extended tableau in a fragile state or scoop it up and score it for style points. However, this system on the whole sings as it provides a physical representation of your character’s escalating action. There is a bit of difficulty in building the longest of chains which is primarily a factor of the game offering few ways to mill or search your deck. To accomplish this one must thoroughly understand that which they’re translating. You’re ultimately making a connection in the player’s brain, but the pleasure is derived from the end point as much as the linkage itself. By capturing that sensation the nostalgia and warmth associated with the original property will do the heavy lifting. The feel is important here because it’s how participants crystallize the abstract. If you can create a compelling tabletop system around those qualities then players downstream will experience a feeling that is familiar and true. What Konieczka understood was that you have to take one or two key elements, those facets which you find of vital importance in capturing the essence of a property, and build the entire design around them. That is still one of the best games ever designed. The foundation for such an endeavor was laid with the remarkable Gears of War board game by Corey Konieczka. I want to spend your time talking about something else.Īdapting one medium into another is hard. I could fill this review with quotes from Dante or Nero, but I’m not going to do that. Enough to examine this game through a critical lens and arrive at a substantive conclusion. I know a bit of the Devil May Cry series.
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