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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 post With goblins, spellcasters and delis, board game makers are imagining new Jewish worlds appeared first on Jewish Telegraphic Agency.
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Mahmoud Abbas Gave Direct Orders to Name Hall After Palestinian Hitler Ally
The Grand Mufti of Jerusalem, Haj Amin al-Husseini, meets with Adolf Hitler in 1941. Photo: German Federal Archives via Wikimedia Commons.
During World War II, Grand Mufti of Jerusalem Haj Amin Al-Husseini was a Nazi ally and an associate of Hitler, living in Germany from 1941 until the war’s end — and receiving funding from the Nazi government.
The Mufti also led the lethal 1936-1939 Arab Revolt, in which at least 400 Jews were murdered.
Now the Palestinian Authority (PA) has built and named a public hall after Al-Husseini — and none other than PA leader Mahmoud Abbas himself instructed PA officials about the naming, thereby making a public statement about which historical values the PA chooses to uphold.
When laying the building’s cornerstone, PA officials stressed that the naming of the hall is “out of loyalty to the great figures of our people”:
Text on sign: “Under the auspices of His Honor President
Mahmoud Abbas, may Allah protect him
President of the State of Palestine
His Honor Jericho and Jordan Valley District Governor Dr. Hussein Hamayel
And His Honor Jericho Mayor Mr. Abd Al-Karim Sidr
laid the cornerstone for the Mufti Haj Amin Al-Husseini Hall”
Under the auspices of [PA] President Mahmoud Abbas, yesterday, Sunday, [Feb. 15, 2026,] Jericho and Jordan Valley District Governor Hussein Hamayel and Jericho Mayor Abd Al-Karim Sidr laid the cornerstone for the Mufti Haj Amin Al-Husseini Multi-Purpose Hall …District Governor Hamayel emphasized that the laying of the cornerstone was done out of loyalty to the great figures of our people, and according to direct instructions from President [Abbas] regarding the need to commemorate the memory of the leaders and fighters. [emphasis added]
[Official PA daily Al-Hayat Al-Jadida, Feb. 16, 2026]
Deciding to put a specific person’s name on a public building is a deliberate statement of values. By elevating an individual like Nazi ally Al-Husseini, Abbas and the PA aren’t just labeling a hall — they are officially endorsing Al-Husseini as a hero for the entire community.
Haj Amin Al-Husseini was also featured at a PA event held under the auspices of PA Prime Minister Muhammad Mustafa, with numerous PA and Fatah officials in attendance, during the marking of the 150th anniversary of the private, coeducational Catholic school Collège des Frères in Jerusalem.
On a huge screen, organizers displayed an image of Al-Husseini. Al-Husseini was on Yugoslavia’s list of wanted war criminals, and was responsible for a Muslim SS division that murdered thousands of Serbs and Croats. When the Nazis offered to free some Jewish children, Al-Husseini fought against their release, and as a result, 5,000 children were sent to the gas chambers.
The author is a contributor to Palestinian Media Watch, where a version of this story first appeared.
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I First Experienced Antisemitism at Six Years Old; But We Must Never Let Hate Win
An Oxford student is seen chanting hateful slogans at Jews, during a pro-Palestinian march in central London, an incident captured on viral video that has drawn widespread condemnation. Photo: Screenshot
When I was six years old, my father founded Carmel College, and moved the family into the English countryside west of London. My father’s school initially only took pupils of a certain age. So, I was sent to a local Church of England village school with one teacher, located just outside the Carmel estate.
For the first time, I became aware of Christian antagonism when I was surrounded by other pupils, bullied, and told that I had killed Jesus. Even at six-years old, I had a mind of my own, and told off the other children. The teacher was furious, got in touch with my father, and insisted that he remove me from the school. Instead, he arranged for home schooling until I was able to join Carmel College.
Several years later, during school holidays, I would walk the three miles from the school to Wallingford, the nearest town, with enough pocket money to buy a ticket to the local cinema. When I got there, the manager told me that the price had gone up, and I didn’t have enough money to get in. I replied that I thought this was unfair and that as I had walked all this way, perhaps he could make an exception. But he replied that since I was a Jew, I should know all about money, because that’s all that mattered to Jews. It was another incident that reinforced my awareness that we were different and not very popular.
A few years later, when I was old enough to play on the school soccer team, we often went to play against non-Jewish schools. In almost every case, either our opponents or the local spectators would abuse us for being Jewish and often played rough either to test us or to express their antagonism. When I mentioned this to my father his response, surprisingly, was simply to tell us to repay them in kind.
The first debate I participated in at Cambridge University in the Union was on the biased subject of whether the Jews had any right to “take” the state of “Palestine” from the Arabs. I argued our case strongly and we won the vote. In those days, the voices of those who supported Israel’s right to exist were strong enough to win the argument.
I was always aware of anti-Jewish sentiment. But it was mainly low key, and I could hardly say that I suffered. Anyway, I had sufficient confidence in my Jewish identity not to let it get to me.
Later I became a rabbi in London and I accepted Chief Rabbi Jakobovitz’s invitation to become responsible in his cabinet for interfaith relations. For a few years I devoted myself to establishing good relations with the various Christian denominations and with Muslims, who at that stage were still relatively new to England and were grateful for the support and encouragement we gave them.
I enjoyed these interactions and conferences and the friendships, some of which I have to this day. But I soon became aware that the interfaith world comprised a small layer of intelligent, sensitive good men and women of all faiths. Although they got on well with each other, they seemed to have little impact on the vast majority of the members of their different religions who were still mired in prejudice and so I withdrew.
I mentioned all these little things because I am conscious of the fact that these small little things affected my sense of alienation, although I was also aware of how wonderful and rewarding the small acts of friendship and warmth were.
Many of our children will experience much more alienation than we had to. We have to fight more prejudice and one-sided information today, and indeed, there are many Jews who prefer joining our enemies. Despite everything, we must encourage good relations with other human beings — many of whom also fight against prejudice and discrimination. Little things can have a huge impact, both ways.
The author is a writer and rabbi based in New York.
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What Is the BBC Telling Children About Iran’s Nuclear Program?
A satellite image shows un‑buried tunnel entrances at Isfahan nuclear complex, in Isfahan, Iran, Nov. 11, 2024. Photo: Vantor/Handout via REUTERS
On February 28, the BBC published an uncredited report headlined “US and Israel launch attacks on Iran” on its CBBC (Children’s BBC) website’s Newsround page.
Newsround is described as “the home of trusted news for kids and young people,” and is aimed at children between the ages of six and 12.
That report opens as follows: [emphasis added]
The US and Israel have launched attacks on Iran, which is a country in the Middle East.
US President Donald Trump said in a video that the American military has begun “major combat operations” in Iran.
In a statement, Israel’s Prime Minister Benjamin Netanyahu said that his country was working with the US to remove what he called a threat to both countries.
It comes after US talks with Iran to try and stop them from developing a nuclear weapon, something that Iran denies it is doing.
In a later section sub-headed “What are nuclear weapons,” the BBC’s young audiences are told that:
Iran has been long suspected of trying to build a nuclear bomb, which it has always denied.
It says its nuclear research is for peaceful purposes, like making electricity. For many years a United Nations body (called the IAEA) has said that Iran has not been following rules on sharing information about its nuclear programme.
While this is by no means the first time that the BBC has amplified Iran’s denials concerning its nuclear program, it is particularly disappointing to see the younger generation being fed that disinformation, especially given that the BBC has itself reported in the past that:
Nuclear power stations typically need about 3-5% of this enriched uranium to generate a controlled nuclear reaction that releases energy.
But when the aim is to make a nuclear weapon, a much higher proportion of uranium-235 is needed – about 90%.
The BBC knows full well that Iran’s levels of enrichment of uranium-235 have reached at least 60% — a level which has no civilian use and is far higher than needed to “make electricity.”
It also knows that Iran has actively (and in violation of international agreement) prevented the IAEA from inspecting its nuclear facilities, including the storage site for some of its highly enriched uranium.
The BBC is no doubt familiar with the long history of the Iranian regime’s nuclear aspirations, as well as its more recent developments.
The BBC also ought to be able to inform its younger audiences about that regime’s history of using proxies and ballistic missiles to attack Israel — and of its repeated threats to destroy the country. However, this “trusted news” article airbrushes all such important context and instead tells readers that:
Israel and Iran have been enemies for many years, but in recent times the tension between the countries has resulted in military attacks on each other.
If, for reasons best known to itself, the BBC thinks that it is ticking the impartiality box by uncritically amplifying the Iranian regime’s redundant denials concerning its nuclear program, it should at least also provide the background information that would enable its audiences — whether adults or children — to put those denials into their appropriate context.
The failure to do so means that Britain’s national broadcaster simply continues to promote the disinformation put out by a repressive, theocratic regime.
Hadar Sela is the co-editor of CAMERA UK – an affiliate of the Committee for Accuracy in Middle East Reporting and Analysis (CAMERA), where a version of this article first appeared.