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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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Congress removes deadline for Holocaust-looted art claims, setting stage for more restitution battles
(JTA) — A new U.S. law removing a deadline for laying claim to art looted during the Holocaust has gone into effect after President Donald Trump signed it on Monday.
The 2025 Holocaust Expropriated Art Recovery Act, or HEAR Act, expands on a 2016 law, signed by President Barack Obama, that permits victims and descendants of victims of the Holocaust to lay legal claim to works of art looted by the Nazis or sold to the Nazis under false pretenses.
That law included a controversial “sunset clause” that required all claims of artwork looted by the Nazis to be filed by the end of this year. That clause has been removed, and the revised act permits families to file a lawsuit within six years of the discovery of looted artwork.
The law also further protects those seeking to retrieve their family’s looted property by preventing the current holders from using certain legal tactics unrelated to the subject matter — such as requesting to switch courts — during proceedings.
“For years, the sunset clause cast a shadow over every survivor and family whose stolen art is still missing,” Joel Greenberg, president of Art Ashes, a nonprofit that helps families recover their looted art, said in a statement to the Jewish Telegraphic Agency. “Now they can seek due process without the pressure of time and deadlines.”
Hundreds of thousands of pieces of fine art were looted from their Jewish owners by the Nazis, often by forced sales in the early years of the Nazi regime. Efforts to reunite the works with their owners or their descendants have been guided by an array of laws governed by an international compact including nearly two dozen countries. Restitution claims frequently ignite extensive legal battles.
The family of the cabaret artist Fritz Grünbaum, who was murdered in the Holocaust, for example, was able to recover works by Viennese Expressionist artist Egon Schiele that were in Grünbaum’s vast personal collection in 2018 after decades of efforts. The family has since continued to file legal action to reclaim Grünbaum’s works under the HEAR Act.
Watchdogs say the sunset clause may have caused those owning looted works to obscure them from public view.
“It was extremely important that Congress eliminated the sunset clause because it incentivized museums and others holding looted art to keep those works under wraps until the sunset period ended,” Greenberg said. “Now, that change and the other provisions ensure claims will be heard and decided on the merits and means that the commitment Congress made to survivors ten years ago when they first passed the HEAR Act is finally being honored.”
Both the original law and the new revision received bipartisan support. But the Republican Jewish Coalition credited Trump with its enactment, saying in a statement, “President Trump has consistently proven to be the best friend of the Jewish people ever to occupy the Oval Office, and his signature today ratifies the truth: the passage of time can never diminish the injustice of crimes committed by the Nazis and their collaborators during the Holocaust.”
The revision goes into effect just days after one of the most significant recent rulings in the restitution space. Last week, a judge ruled after a decade-long legal battle that a painting by Italian artist Amedeo Modigliani, once valued at around $25 million, must be returned to the descendants of its original owner, who was forced to sell the painting to the Nazis. The painting had been in the possession of a prominent New York-based real estate and art dealer family since 1996.
The post Congress removes deadline for Holocaust-looted art claims, setting stage for more restitution battles appeared first on The Forward.
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Holocaust Remembrance Day Marked in Poland, Germany Amid Nazi Displays, Rising Antisemitism
Participants with Israeli flags look at the landmark Birkenau extermination camp gate in Auschwitz Museum – former Nazi German Concentration Camp during the International March of the Living (MOTL) in Oswiencim, Poland on April 14, 2026. Photo by Dominika Zarzycka/Sipa USA via Reuters Connect
Eighty-one years after the Holocaust, antisemitism remains rampant in the heart of the former Third Reich, with incidents in both Poland and Germany underscoring a disturbing resurgence of Nazi-linked provocation and hatred across Europe — even as Jews and Israelis around the world marked Israel’s Holocaust Remembrance Day on Tuesday.
Polish far-right lawmaker Konrad Berkowicz sparked outrage in Warsaw after displaying a modified Israeli flag during a parliamentary debate, replacing the Star of David with a Nazi swastika.
Berkowicz’s act was widely condemned as a deeply troubling distortion of Holocaust memory and a provocative example of “Holocaust inversion,” weaponizing Nazi imagery to target Israel in a manner that promotes hateful rhetoric.
The European Jewish Congress (EJC) strongly condemned the incident, calling on government officials to take swift and decisive action to address the matter, deter similar acts, and uphold public accountability.
“This act constitutes a clear example of Holocaust inversion, distorting the memory of the Shoah, and trivializing its victims,” EJC wrote in a post on X, using the Hebrew word for referring to the Holocaust.
“The use of Nazi symbols in this context is not only offensive, but represents a serious form of antisemitic provocation, particularly on a day dedicated to remembrance,” the statement read. “Preserving the integrity of Holocaust remembrance and ensuring that antisemitism is not tolerated in public institutions is essential.”
Polish MP Konrad Berkowicz displayed an Israeli flag bearing a swastika during a parliamentary debate in Warsaw on Holocaust Remembrance Day.
This act constitutes a clear example of Holocaust inversion, distorting the memory of the Shoah and trivialising its victims.
The use of… pic.twitter.com/zeyRN5yG6T
— European Jewish Congress (@eurojewcong) April 14, 2026
The latest antisemitic incident came as Holocaust survivors from around the world joined thousands of participants in the 38th March of the Living, held at the site of the Auschwitz concentration camp in remembrance of the 6 million Jews murdered by Nazi Germany during World War II. The annual march goes from Auschwitz I to Auschwitz II-Birkenau, the Nazis’ largest death camp where 1 million Jews were killed.
During a ceremony, Revital Yakin Krakovsky, deputy chief executive of the International March of the Living organization, warned that antisemitism continues to endure today despite the lessons of the Holocaust, stressing that its warning signs are once again becoming impossible to ignore.
“Since Oct. 7, antisemitism has surged and is spreading everywhere,” Krakovsky said, referring to the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023. “The scale and normalization of this hatred echoes the dark times we have seen before and, today of all days, we know how it ended.”
Like most countries across Europe and the broader Western world, Poland has seen a rise in antisemitic incidents over the last two years, in the wake of the Oct. 7 atrocities.
Germany has also experienced a marked surge in antisemitism, with Jewish communities and Israelis facing an increasingly hostile climate and a growing number of disturbing public provocations.
On Tuesday, workers at the Eggenfelden tax office in Bavaria, southern Germany, discovered a structure over a meter high on the premises, allegedly designed to resemble a crematorium and adorned with a swastika and SS runes. The structure also had the inscription “Zyklon B,” the pesticide used by the Nazis to carry out the mass murder of Jews in gas chambers at Auschwitz.
This latest incident coame just three weeks after a replica of the Auschwitz concentration camp gate, also covered in swastikas, was placed in front of the same tax office.
Eggenfelden’s mayor, Martin Biber, strongly condemned the incident, calling it a deeply disturbing provocation that has shocked the community.
“This shocks me. It’s also a huge disappointment that someone here is so cowardly. Quite apart from the fact that an object that is presumably meant to resemble a crematorium represents a horrific act,” Biber told the German newspaper BILD.
Local law enforcement has launched an investigation into the incident, treating it as a serious suspected extremist provocation.
The incident coincided with a commemoration held by the Israeli Embassy in Germany for the six million Jewish victims of the Nazis at the Sachsenhausen Memorial in Oranienburg, in eastern Germany.
During the ceremony, Israeli Ambassador Ron Prosor called for the resolute protection of Jewish life, warning that “antisemitism is not a relic of the past but remains visible and on the rise.”
He also emphasized that confronting the spread of terror by Iran is not solely Israel’s responsibility, warning of its expanding global reach and ideological influence.
“The mullahs are already part of the war in Europe. Their drones are falling in Ukraine. Their networks operate across continents – and their deadly ideology is spreading faster than any missile,” the Israeli diplomat said.
“Once again, Israel is on the front line. But the free world, especially Germany and Europe, has not only the responsibility, but the duty to confront this deadly ideology that threatens Europe from within,” he continued.
Andreas Büttner, the Brandenburg commissioner against Antisemitism, was also in attendance at the ceremony, where he reaffirmed the urgent need to confront and counter rising antisemitism.
“Antisemitism is not a shadow of the past. It is an open fire burning among us. And this fire is being stoked from various sides – by the extreme right, by the extreme left, and by those who disguise their hatred of Israel as moral concern,” the German official said.
According to newly released figures, the number of antisemitic offenses in the country reached a record high in 2025, totaling 2,267 incidents, including violence, incitement, property damage, and propaganda offenses.
By comparison, officially recorded antisemitic crimes were significantly lower at 1,825 in 2024, 900 in 2023, and fewer than 500 in 2022, prior to the Oct. 7 atrocities.
Officials warn that the real number of antisemitic crimes is likely much higher, as many incidents go unreported.
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Mossad Chief Says Iran Campaign ‘Will Only Be Complete When This Extremist Regime Is Replaced’
Israeli Prime Minister Benjamin Netanyahu, left, with Mossad chief David Barnea in July 2025. Photo: Israeli Government Press Office (GPO)
The head of Israel’s intelligence agency Mossad declared on Tuesday that the Israeli military campaign against Iran will end only with the collapse of the Islamist regime in Tehran.
David Barnea’s comments during a speech at a Holocaust Memorial Day ceremony came as a fragile ceasefire teetered on the brink of collapse and prospects for renewed negotiations remained uncertain.
Israel secured “significant achievements” after 40 days of intense fighting against “those who have made the destruction of the Jewish state their guiding principle,” said Barnea, who noted that the campaign had reshaped the regional security landscape.
“The Iranian threat grew stronger before our eyes, before the eyes of the world, almost without interruption,” he continued. “We repeatedly warned of the nuclear danger as an existential threat, and time and again we warned about the quantities of ballistic missiles that threaten Israeli citizens across the country, as well as the danger posed to us by the Iranian regime.”
Barnea said that Israel and its close ally the US took matters into their own hands for the good of the entire world and warned that, at least for Jerusalem, the mission isn’t done until the Iranian regime collapses.
“Finally, we took our fate into our own hands and entered two wars out of necessity. Alongside us, in firm alliance and historic cooperation with the world’s most powerful nation, we fought together for the values of justice and freedom,” the Israeli official continued. “Our commitment will only be complete when this extremist regime is replaced.”
Since Feb. 28, when the US and Israel launched joint strikes, Israeli officials have repeatedly said that, in addition to degrading Iran’s nuclear and missile programs, they aim to “create the conditions” for the regime in Iran to collapse, weakening the government to the point that the Iranian people can revolt.
US officials have not publicly adopted regime change as a declared war goal. However, President Donald Trump has at times suggested that Iranians should rise up once the airstrike campaign ends.
During Tuesday’s ceremony, Israeli Defense Minister Israel Katz also delivered a speech, saying that the US and Israel had “defined the removal of enriched material from Iran as a threshold condition for ending the campaign.”
“Iran’s regional proxies — from the collapsed Syrian regime to Hezbollah and Hamas — have been dealt heavy blows and have lost their capacity to pose a strategic threat to Israel,” Katz said. “There remains the task of confronting the rest of their power, and we are doing so — and will continue to do so — with full commitment and full force.”
On Monday, Israel Defense Forces (IDF) Chief of Staff Lt. Gen. Eyal Zamir approved plans to escalate the military campaign against Iran and advance expanded operational planning across multiple arenas in the region if the ceasefire ends, signaling continued pressure on Tehran’s military and strategic infrastructure.
“We are facing a multi-theater campaign unprecedented in the history of our people and of nations — against both immediate enemies on our borders and distant adversaries seeking our destruction,” Zamir said. “We are striking Iran and its proxies, inflicting heavy blows and significantly degrading their military capabilities.”
With the ceasefire deadline approaching in a week and regional tensions escalating, Trump said the White House has received a request from “the appropriate parties” to resume talks, adding that the Iranian regime is seeking to renew negotiations and reach an agreement.
“Iran will not have nuclear weapons. We agreed on a lot of things, but they did not agree to that. And I think they will agree to that. I am sure of it. If they do not agree – there will be no agreement,” Trump wrote in a post on Truth Social.
According to The New York Times, US officials have proposed a 20-year halt to Iranian uranium enrichment, which Iranian negotiators countered with a five-year suspension that Washington rejected, while also reportedly insisting that Iran dismantle major enrichment sites and surrender more than 400 kilograms of highly enriched uranium.
Meanwhile, Pakistan has offered to host another round of US–Iran negotiations in Islamabad in the coming days before the ceasefire expires, as diplomatic efforts intensify to prevent a renewed escalation.
The Trump administration has also stepped up pressure on Tehran to accept its demands by imposing a naval blockade on vessels entering or leaving Iranian ports through the Strait of Hormuz, a critical global shipping chokepoint for energy supplies.
Since the start of the war, Iran has used control over the Strait of Hormuz as a major source of leverage, militarizing the waterway and sharply restricting maritime traffic through one of the world’s most critical shipping corridors.
Iranian officials warned they would retaliate against any US naval blockade targeting their ports, calling the move illegal and warning that Gulf shipping routes would no longer remain secure if Iranian access were restricted.
Responding to Iranian threats in a post on Truth Social, Trump said, “If one of these boats approaches the blockade, it will be eliminated immediately, using the same elimination method that we use against drug smugglers at sea. It will be fast and brutal.”
Iran has also signaled it intends to maintain control over the Strait of Hormuz even after the war ends, potentially imposing transit fees framed as compensation for wartime damage.
Following the latest escalation at sea, Israel had instructed its forces to maintain a high level of alert and prepare for the possibility of an immediate collapse of the ceasefire agreement, remaining on heightened readiness in case the truce breaks down and talks do not resume.
Israeli officials have said they do not rule out that Iran may be using the ceasefire to rebuild damaged air defense systems and restore military capabilities, while also attempting to bring weapons and sensitive technologies back into the country through overland smuggling routes.
Meanwhile, Iran appears to still be targeting Gulf states despite the ceasefire, with Bahrain intercepting seven Iranian drones in the past 24 hours in what officials described as a clear breach of the agreement.