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With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds
(JTA) — Running a not-so-Zagat-rated deli, dropping into a Chinese restaurant for Christmas Eve dinner and acting out a bat mitzvah that involves a vampire — for contemporary board game fans, those can be all in an evening’s play.
That’s because a crop of new games aims to merge Jewish ideas and experiences with the aesthetics and language of games such as Dungeons & Dragons. Dream Apart places players in a fantastical reimagining of a 19th-century shtetl, for example, while J.R. Goldberg’s God of Vengeance draws inspiration from the Yiddish play of the same name. In the games in Doikayt, a collection released in 2020, players can literally wrestle with God.
Known as tabletop role-playing games because they ask players to take on a character, these games and their creators imagine exciting new worlds, subvert classic tropes in fun and irreverent ways, and reinterpret Jewish history and identity.
Tabletop role-playing games like Dungeons & Dragons and Call of Cthulhu have exploded in popularity over the past several years, with many — including at least one group of rabbis — picking up the Zoom-friendly hobby during the height of the COVID-19 pandemic. But the new Jewish games aim to do more than just provide a diversion or even an escape.
“Depending on your family, depending on your synagogue, depending on your community, you may have gotten more or fewer options of what Jewishness could mean in your imagination,” said Lucian Kahn, who created a trilogy of humorous Jewish role-playing games.
“What some of these games are doing is opening that up and pointing to alternate possibilities of imagining Jewishness, not as a way of converting anyone to anything else, but just as a way of showing the tradition is enormous,” he added.
Kahn is the creator of If I Were a Lich, Man, a trilogy of humorous games whose name is a mashup between a “Fiddler on the Roof” song and an undead character, the lich, that frequently appears in fantasy fiction and games. In the title game, players are Jewish liches — spellcasters whose souls, in the lore of Dungeons & Dragons, are stored in phylacteries, the Greek word for tefillin used by Jews in prayer. Representing the four children of the Passover seder, they debate how their community should address the threat of encroaching holy knights.
In some cases, the association of Jews with monsters has given rise to charges of antisemitism — the goblins of “Harry Potter” offer a prime example. But Kahn said he sees Jewish-coded monsters, and queer-coded villains, as figures of resistance.
“There’s a long tradition of looking at the monster and seeing that the reason why these are monsters is because the people who have oppressive power have decided that these are going to be the enemies of the ‘good’ oppressive powers,” Kahn explained. “But if you don’t agree with their ideology, if you’re seeing yourself as being a member of a marginalized community and being in opposition to these oppressive powers, then you can look at the qualities assigned to these monsters and some of them are qualities that are good.”
For Kahn, Jewish-coded monster characters also provide more of an inspiration than the archetypes of more traditional games.
“Maybe somebody thinks they’re insulting me or insulting Jews,” he said. “My response is: I like vampires and liches and trolls and goblins and think they’re much more interesting than bland white muscular humans running through the fields with a cross on their chest hacking at the same things with a sword over and over again.”
Kahn’s outlook has resonated in the tabletop role-playing game community. In February, he and Hit Point Press launched a Kickstarter to fund production of If I Were a Lich, Man. The campaign smashed its $5,000 goal, raising $84,590, enough to hit one of the campaign’s stretch goals of funding a grant to support independent zines about tabletop role-playing games.
The successful campaign means that Kahn’s three games will go into production. In addition to the game about liches, the trilogy includes Same Bat Time, Same Bat Mitzvah, in which players act out a bat mitzvah where one guest has been turned into a vampire, and Grandma’s Drinking Song, inspired by how Kahn’s Jewish great-great grandmother and her children survived in 1920s New York City by working as bootleggers during Prohibition.
In Grandma’s Drinking Song, players write a drinking song together as they act out scenes. Kahn, the former singer/songwriter and guitarist for Brooklyn Jewish queercore folk-punk band Schmekel, wanted to carry over elements of music into this game.
A throughline in all three games is the power of creative resistance to authority — a narrative that Kahn said strikes him as particularly Jewish.
“There are all these stories in Jewish folklore that are really overtly about finding trickster-y or creative ways of fighting back against oppressive and unjust governmental regimes, evil kings, bad advisors,” Kahn said. “One of the first stories I ever heard in my life was the Purim story, so it’s very embedded in my mind as a part of Jewish consciousness, when evil rulers come to power and try to kill us all, we’re supposed to find these outside-the-box ways of preventing that from happening.”
For some Jewish creators, Jewish holidays are an explicit inspiration. Like many Jewish kids of the ‘80s and ‘90s, Max Fefer, a civil engineer by day and game designer by night, grew up loving the picture book “Herschel and the Hanukkah Goblins,” which remains a popular festive text. But as Fefer notes, goblins are often associated with antisemitic stereotypes. Fefer’s first Jewish game, Hanukkah Goblins, turns the story on its head — players interact as the jovial goblins, who are here not to destroy but to spread the spirit of Hanukkah to their goblin neighbors.
Last year, Fefer launched a successful Kickstarter for another Jewish holiday-inspired tabletop role-playing game, Esther and the Queens, where players assume the roles of Esther and her handmaidens from the Purim story, who join together to defeat Haman by infiltrating a masquerade party as queens from a far-off land.
Esther and the Queens channels Fefer’s Purim memories and includes carnival activities, including Skee-Ball; a calm, relaxing Mishloach Manot basket-making; and a fast-paced racing game.
“All of our holidays, they’re opportunities for us to gather as a community in different ways,” Fefer said. “Watching this satirical, comedic retelling of the story of Purim and the Esther Megillah and coming together into a theater, in a synagogue, to watch these spiels and laugh together and spin the graggers when we hear Haman’s name — all of those things help us build identity and community, and I think games in particular surrounding identity, that’s a great way for a Jewish person themselves to feel seen in a game and reinforce their identity, and share their background with friends.”
Another pair of Jewish game creators, Gabrielle Rabinowitz and her cousin, Ben Bisogno, were inspired by Passover.
“The seder is kind of like an RPG in that it’s a structured storytelling experience where everyone takes turns reading and telling, and there’s rituals and things you do at a certain time,” Rabinowitz said. “It’s halfway to an RPG.”
The game became a pandemic project for the two of them, and alongside artist Katrin Dirim and a host of other collaborators, they created Ma Nishtana: Why Is This Night Different? — a story game modeled on their family’s seder. The game follows the main beats of the Exodus story, and in every game, there will be a call to action from God, a moment of resistance, a departure and a final barrier — but different characters and moments resonate depending on the players’ choices.
As an educator at the Museum of Natural History, Rabinowitz said she is often thinking about how to foster participation and confidence, and she wanted to create a game-play mechanic to encourage players to be “as brazen as her family is.” The result was an in-game action called “Wait! Wait! Wait!” — if players wish to ask a question, make a suggestion, disagree with a course of action or share a new perspective, they can call out “Wait! Wait! Wait!” to do so.
The game also includes a series of scenes that are actively roleplayed or narrated, and each includes a ritual — one that can be done in-person or an alternate remote-friendly version. For example, at one point each player must come up with a plague inspired by the new story they’re telling together, and in the remote version, players go camera-off after reciting theirs.
“The fact that it was created during the pandemic and a way for us to connect and other people to connect with each other is really the soul of the game,” Rabinowitz said. “After each person tells a plague, by the end, all the cameras are off and everyone stays silent for another minute. It’s a hugely impactful moment when you’re playing remotely. The design is interwoven in the game itself.”
Rabinowitz said by playing a story of a family undergoing these trials, the themes of family and identity deepen every time she plays the game.
“A lot of people say, ‘Wow, I’ve never felt more connected to this story,’” she said. “Embodying these characters gave me a feeling of relevance and that makes it feel important as a Jewish precept.”
For other creators, that deep connection comes in more lighthearted scenarios. Nora Katz, a theatremaker, game designer and public historian working at the Goldring/Woldenberg Institute of Southern Jewish Life (ISJL) by day, created the Jewish deli-centered game Lunch Rush, which was included in the Doikayt anthology.
“There’s also types of institutions that come up a lot in [tabletop role-playing games], especially sort of high fantasy,” she said. “Everyone meets in a tavern, there’s an inn, things like that. So the idea of a deli as a central gathering place in a world like that felt fun to me.”
An important element of Lunch Rush is that players must be eating while playing, so for Katz’s first round with friends, they got together with chocolate chip ice cream and dill pickle potato chips. She said the deli is a shared language, and her fellow players were all bringing in their own favorite things about delis they loved into the fictional place they were building together.
Tabletop role-playing games “at their core are about collaboration and relationships and storytelling and community, and for me, all of those things are also what Jewishness is about, to me they totally go hand in hand,” Katz said.
The games are not meant to be for Jewish players only. Rabinowitz said the guidebook for Ma Nishtana includes essays to encourage people to further engage with the narrative.
“Jewish players, non-Jewish players, priests, non-religious people, all different people have played it and almost all of them have told us it’s given them a new way of thinking of how they relate to religious tradition, and I didn’t really set out to do that,” Rabinowitz said. “I feel really privileged to have helped create that space.”
Rabinowitz and Bisogno also commissioned other creators to build alternate backdrops for their game, so it can be repurposed to telling the story of another oppressed people’s fight for freedom. Players can interact as embattled yaoguai, spirits from Chinese mythology; explore a Janelle Monáe-inspired Afrofuturist world; play as Indigenous land defenders; or unionize as exploited workers at “E-Shypt.”
Fefer, who has been amplifying the work of other Jewish creators in the tabletop role-playing game space, said the harm of stereotyping and reinforcing negative tropes is still present in the industry, and not just for Jewish people. For example, fans recently criticized Dungeons & Dragons publishers Wizards of the Coast for reinforcing anti-Black stereotypes in the descriptions of a fantasy race, the Hadozee.
“I think it’s a process of talking to people who are from these groups and bringing them onto your teams and making sure you’re incorporating their perspectives into, in the example of Dungeons & Dragons, a hundred-million-dollar industry, being intentional about that design and looking at things from lots of different angles,” Fefer said. “How could our branding, our games be reinforcing something we’re not even aware of?”
Fefer hopes people who play Hanukkah Goblins and Esther and the Queens feel seen and have moments of shared joy, and also that they learn something from these games — about the antisemitic tropes in fantasy, or about underrepresented groups within the Jewish community. With Esther and the Queens, Fefer collaborated with a writer and artist, Noraa Kaplan, to retell the Purim story from a queer and feminist lens, drawing on Jewish texts that the pair said shows the long presence of queer and trans people in Jewish tradition.
“We have a lot of richness within Judaism to share our culture and share our upbringing but also just be representation,” Fefer added. “We’re living in a time of heightened antisemitism and the world being a gross place to be at times, and we can really bring the beauty of Judaism into game design and create experiences for people that are both representative of Judaism and also just very Jewish experiences.”
But for all the important conversations and learning experiences that can come from Jewish tabletop role-playing games, Katz said the goofiness and joy is important, too.
“We live in such a horrendous society that is of our own making,” she said. “If you can, for a little while, enjoy an anticapitalist fictional deli that you and your friends live in, I think that’s great.”
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The White House cabinet is eating like your zayde
Robert F. Kennedy Jr. is hawking a new diet: sauerkraut. Yes, lacto-fermented cabbage. And it’s catching on with Trump’s cabinet, according to The Wall Street Journal, which reported that Vice President JD Vance, Transportation Secretary Sean Duffy and Commerce Secretary Howard Lutnick are all heaping their plates with cabbage — apparently “drawn by the promise of slimmer waistlines and glowing skin.”
This claim may sound like it belongs in the marketing material for some sort of beauty product, or a scammy gas station supplement, rather than a jar of preserved vegetables. But RFK Jr. boasted that he lost 20 lbs in 30 days from eating mass amounts of the stuff. One might assume something like a tapeworm is responsible for such extreme weight loss — especially given Kennedy’s previous worm-related medical issues — but he asserts it’s all thanks to cabbage.
The diet, drawn up by one Dr. Sean O’Mara, an MD who advertises himself as an “executive biological consultant to high-performance leaders,” is apparently not just about sauerkraut; it includes other fermented vegetables, urges followers to also eat steak, snack on “old world cheese” and cut out alcohol and sugar.
Admittedly, this sounds like a fairly normal, low-carb diet. But sauerkraut is so core to the meal plan that members of the cabinet have taken to making their own, and carrying it around just to make sure they’re never without. Kennedy’s wife, Cheryl Hines, said on a podcast with Steven Miller’s wife, Katie, that she has had to refuse to stow a container of sauerkraut in her clutch when she and her husband go out for a nice evening. But, she said, he brings it anyway, presumably in his own bag. Or maybe tucked under his arm.
It’s hard to imagine anything more bubbie-coded than whipping out a jar of sauerkraut from a handbag while out at a nice dinner.
It’s not that Jews have some kind of patent on fermented vegetables; they exist in many cultures, like kimchi in Korea and miso in Japan. Sauerkraut specifically is common throughout European countries like Germany, Czechia and Russia.
But in the U.S., there’s a pretty strong association between Jews and pickles, whether they be sauerkraut or cucumbers, thanks to the deli culture imported with Jewish immigrants into the U.S. Jews created a pickle district on the Lower East Side, selling the preserved vegetables from pushcarts and spreading the food through the city. We’ve long been aware of the healthy gut biome effects of a lacto-fermented vegetable.
Ashkenazi food has long been made fun of for being gross — largely thanks to innovations like jarred gefilte fish, its beige-heavy color palette and, as the Wall Street Journal piece hinted at, the diet’s resulting gastrointestinal effects. Much of shtetl food culture was the result of hardship, and the need to preserve food through long winters, not an attempt for glowing skin and slim waistlines. The hardier the vegetable, the longer it lasted. Enter the cabbage. There are few foods less sexy than cabbage. (And I love cabbage.)
Which is why it’s so funny to see some of the most powerful men in the U.S. adopting the diet of a poor shtetl Jew — and doing so for aesthetic reasons.
There are a lot of weird diets and quasi-scientific buzzwords like “seed oils” and “clean protein” floating through the MAHA world that these American leaders often play to. But most of those, at least the ones promoted by men like Vance, have some cross-over focus on manliness and discipline — they’re about building muscle in some sort of primitive way. Think the carnivore diet or Kennedy’s obsession with beef tallow. Seeing these men turn to a diet I associate with my grandmother because they want to lose weight feels absurd, especially in the days of Ozempic for those with the funds to pay for it. Perhaps that does not have the right optics.
Of course, sauerkraut is nothing to be ashamed of. In recent years, Jews have been reclaiming pride in their food cultures; bespoke pickling classes have boomed. So the White House cabinet’s sauerkraut kick is really just them being really late to the shtetl chic trend. But you still should probably be ashamed of smuggling your own food into a nice restaurant, even if it’s sauerkraut.
The post The White House cabinet is eating like your zayde appeared first on The Forward.
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Chair of Britain’s largest arts center to step down amid antisemitism scrutiny
(JTA) — The chair of the United Kingdom’s largest arts institution will step down this fall following months of controversy over allegations of antisemitism and his social media activity related to Israel.
Misan Harriman, 48, the chair of the publicly funded Southbank Centre in central London that hosts millions of visitors per year, publicly stated earlier this week that he would not seek another term.
In a since-deleted social media post, Harriman stated on Monday that his departure had long been planned. “It’s semi-public knowledge that my term is coming to an end anyway,” he said, according to The Guardian. “I had decided way before this madness that I was going to do two terms.” He added, “I came on just after Covid, two terms, then handing the baton to whoever the next chairman will be. We will find out in due course, and of course, I am going to support that.”
The Southbank Centre said that it had been informed earlier in the year of Harriman’s decision.
In May, more than 64 MPs and peers wrote to Culture Secretary Lisa Nandy asking the government to open an investigation into Harriman’s behavior, expressing concern that his public comments “have not been treated with sufficient scrutiny, particularly given their implications for public trust and community confidence,” in a publicly funded institution.
Nandy later confirmed that the Charity Commission and Arts Council England were examining complaints, alongside an internal review by the Southbank Centre.
Harriman, a photographer and self-described social activist, came to prominence in 2020, photographing a Black Lives Matter protest in London. He has overseen the Southbank Centre since 2021, but it’s only in recent months that he has faced increasing scrutiny over his public and social media comments, including referring to Israel as an “occupying power” and accusing the country of genocide.
In April, when two Jewish men were stabbed in the heavily Orthodox Jewish neighborhood of Golders Green in London, Harriman posted on social media about an alleged third victim who was Muslim. He wrote, “Wait, so there was a 3rd victim on the SAME DAY who was Muslim?! And our press isn’t reporting it? Even the Met Police didn’t mention the Muslim victim in its X post?! What is going on @metpolice_uk ?”
The Muslim victim did in fact receive coverage, and the focus on the Jewish victims stemmed from the alleged attacker’s anti-Jewish animus.
Then, following Reform UK’s gains in the May 7 local elections, Harriman shared a post that critics said compared the party’s success to the events that led to the Holocaust.
The post prompted Reform MP Robert Jenrick to respond on X, “Comparing the millions who voted Reform on Thursday to the Nazis is disgusting.”
Harriman received support from many prominent activists and artists who signed a petition in May organized by The Good Law Project. The petition accused right-wing media of running a smear campaign against Harriman.
Those who signed included activist Greta Thunberg, actors Aimee Lou Wood, Mark Ruffalo, and Susan Sarandon, director Yorgos Lanthimos and journalist Mehdi Hassan.
Following Harriman’s announcement, the Campaign Against Antisemitism praised the decision, posting on X, “Mr Harriman’s decision to step down – supposedly always his intention – is welcome. This saga has exposed a rot in the arts world. We hope that his successor will be more worthy of the post.”
This article originally appeared on JTA.org.
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Mamdani touts ‘Babies not Bombs’ messaging after flexing political muscle in the New York primaries
(New York Jewish Week) — New York City Mayor Zohran Mamdani celebrated the victories of the progressive candidates he endorsed in New York’s Democratic primaries describing their success as a “shift in the balance of power.”
Speaking to reporters on Wednesday, the morning after the primaries, Mamdani touted the triumphs as a shift in the balance of power between “working people” and “special interests.”
Mamdani-endorsed candidates Brad Lander, Darializa Avila Chevalier and Claire Valdez won Democratic nominations for Congress. During the press conference, the mayor repeatedly highlighted their calls to restrict U.S. military aid to Israel and redirect federal funding to domestic priorities.
Following Mamdani’s election night sweep in New York, President Donald Trump posted on Truth Social that “America the Beautiful will NEVER be a Communist Country!!!”
The victories offered an early demonstration of Mamdani’s political influence beyond City Hall, as several Democratic Socialist candidates he backed, including Chevalier, defeated established Democratic incumbents in their districts.
“The working person is struggling in our city to afford basic needs,” Mamdani said, adding that Avila Chevalier’s oft-repeated slogan of investing in “Babies not Bombs,” is “the kind of conscience, the kind of clarity, the kind of conviction that has been missing in our politics for far too long.”
Mamdani responded to the president’s post on Wednesday, telling a reporter who asked whether his goal is to make America a “socialist” country that his “goal is to make America a place that every American can afford.”
When asked about federal policies that could be affected by Mamdani’s endorsed candidates, the mayor cited Valdez’s support for “foreign policy that understands human rights for all” and Lander’s commitment to co-sponsoring the Block the Bombs Act, which prohibits the sale of certain U.S.-made offensive weapons to Israel.
Mamdani also dismissed a question about whether he was concerned about how the victories would play out in November as Democrats try to win back the House.
“Every time the fight for working people takes a step forward, you will hear Republicans say that this is actually going to jeopardize the existence of that very fight,” he said.
When asked whether the election of Chevalier, who has faced scrutiny for past social media posts attacking Democrats and her appearance at an Oct. 8, 2023, pro-Palestinian rally in Times Square, could “complicate campaigns for Democrats as a whole,” Mamdani replied “No.”
“[Chevalier] often speaks about a politics of life. She speaks about ‘Babies not bombs,’” Mamdani continued. “What could be a better example of what the people of the district want to see versus what the people of the district have been forced to experience, which is tens of billions of dollars being spent at a national level to bomb children overseas, while children in our own districts are struggling.”
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