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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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The Jewish secret to affordable eyewear that isn’t so secret anymore
The business cards on the counter at Minzer’s Optical proclaim “45 years of 15-minute service.” If your wait drags on for longer than 15 minutes, you can pick up one of the prayer books that line a shelf beneath the counter. But there’s no need to pray that your eyeglasses won’t cost you an arm and a leg. Minzer’s is known for its low prices, so customers who are feeling charitable might slip a few shekels into one of the pushkes, the tin tzedakah boxes, on the counter.
Once known solely within Brooklyn’s ultra-Orthodox Jewish community, today a majority of Minzer’s customers are not Haredi Jews, let alone members of the tribe. According to Mordechai Minzer, who started the business when he was just 19, this is entirely the result of word of mouth. And Minzer’s has held on in an age where Internet competitors such as Zenni have come close to matching its prices but can’t offer its speedy, in-person customer service.
“There’s an old saying that if you want something fast, good, and cheap, pick any two out of the three. Minzer’s amazingly manages to do all three,” Cheryl Krauss, a Brooklyn jewelry maker who has been a customer for close to 20 years, told me.
Up a flight of stairs in a two-story building on a block of attached homes, customers peruse shelves and carousels displaying frames that run the length of the store, amid the drone of computerized edging machines that grind lenses. Customers stand across the counter from employees who peer through a pupilometer, a device which measures the distance from the center of one pupil to the center of the other, a critical measurement needed to make accurate lenses.
Mordechai Minzer, 64, was trained as an optician in Manhattan at the Bramson ORT Institute of Technology, which began in 1942 as a series of workshops for World War II refugees and is part of a global educational network driven by Jewish values. Early in his career, he worked at a Cohen’s Fashion Optical store in the Bay Ridge section of Brooklyn. Minzner said he stopped working for them because they wanted him to work on Shabbos. In 1981, a few years after the country western hit “Take This Job and Shove It” hit the airwaves, Minzer quit his job. It’s unlikely Minzer, the son of a Bobover Hasid, heard the song on the radio, but he sure did know the words to the chorus.
“I worked very hard there at Cohen’s and they schmatte-ed me,” he said, using the Yiddish word for “rag” as a verb.
So, Minzer started his own business by setting up a lab in the basement of his family home in Borough Park, making eyeglasses for wholesale customers. He also made glasses on the side for friends and students at his yeshiva.
“My customers told other people about it and before I knew it, it exploded. I charged a quarter of the price that Cohen’s charged for the same stuff and I did the glasses on the spot,” he said.
Shulem Deen, author of the memoir All Who Go Do Not Return, remembers going to Minzer’s when he was growing up in Borough Park where his family was part of the Krasna Hasidic community. Deen said he was about 11 when word of the new optician spread.
“Suddenly there’s this new place everybody was talking about and the prices for glasses were ridiculous,” he recalled. “I remember that every time I went there to the basement, the place was packed.”
Deen, a keen observer of the Haredi Jewish world he left behind, said that because Jewish boys focus on the tiny text during Talmud study, it’s no wonder that so many of them need spectacles.
Back then, Minzer’s served frum Jews exclusively. But, over the years, Mordechai Minzer said, many of his observant Jewish customers went elsewhere because they had gotten “spoiled.”
“They want certain very expensive frame styles like Lindberg and I don’t want to carry $500 frames here,” he said. “I don’t want to get involved with that. They still come here, but they’re only 30% of my clientele.”
Nevertheless, Minzer’s ties to Haredi Brooklyn remain strong. He owns two sefer torahs, one of which was written to honor his parents. The scrolls are lent to yeshivas in New Jersey that don’t own sefer torahs. Every year he goes to the yeshivas to inspect them.
“Whenever I go to check up on my sefer torahs, polish the silver a bit, this and that, they always ask me to make them glasses,” Minzer said.
This has been a routine for more than 20 years. He goes a few weeks before Purim, and brings a box of inexpensive frames and optical instruments. He then proceeds to make more than a hundred pairs of free glasses for the boys.
“I like to see the kids smiling,” he told me.
Zenni and other online eyewear retailers have taken a toll on his business in recent years, Minzer said, adding that one of the big advantages he has is that customers who come to the store can try on the frames and see how they look before deciding whether to buy them. And in an era when fewer and fewer opticians still have a lab on the premises, Minzer’s can often make customers new glasses while they wait, and even dip them into sunglass tints on the spot.
One Jewish customer told me she felt uncomfortable as a non-Orthodox single woman walking into Minzer’s wearing pants but added, “that may be me projecting.” Another Jewish woman, whose husband advised her to dress modestly before her first visit, scoffed at the advice after seeing other customers wearing tank tops and shorts.
A Manhattan painter who had never been to Minzer’s recently paid less than $300 to have lenses made for her complex progressives prescription. The previous pair she had purchased at another store cost between $700 and $800. Pamela Hecht was reluctant to make the 40-minute subway ride from her loft in Manhattan to Borough Park but decided to make the schlep after learning what her new lenses would cost.
“It’s a long trip out there on the train but I will do it again because my lenses cost so much less than what I have been paying,” she told me. “I was very dubious that the quality was going to be sufficient. How could the price be so low without cutting corners? But the quality is very good. I’m very satisfied.”
The post The Jewish secret to affordable eyewear that isn’t so secret anymore appeared first on The Forward.
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Israel’s First Ambassador to Somaliland Acclaims Deepening Partnership, Broader Strategic Outreach in Africa
Israeli diplomat Michael Lotem in Kenya, July 2025. Photo: Screenshot
The relationship between Israel and Somaliland has rapidly evolved into a strategic partnership spanning security, energy, infrastructure, and economic cooperation, according to the Jewish state’s first ambassador to the self-declared republic, who noted the strengthening of ties was part of a broader outreach effort by Jerusalem across Africa.
“They are looking to deepen cooperation in nearly every field — from energy and infrastructure to technology, education, and communications — and their desire to work with Israel is stronger than ever,” Michael Lotem said of Somaliland in an interview with Israeli news outlet N12 published on Friday.
“Security discussions are naturally part of the relationship, but our political dialogue extends far beyond that into many different areas,” he added.
In December, Israel became the first country to officially recognize the Republic of Somaliland as an independent and sovereign state.
Somaliland, which has claimed independence for decades in East Africa but remains largely unrecognized, is situated on the southern coast of the Gulf of Aden and bordered by Djibouti to the northwest, Ethiopia to the south and west, and Somalia to the south and east. It has sought to break off from Somalia since 1991 and utilized its own passports, currency, military, and law enforcement.
Unlike most states in its region, Somaliland has relative security, regular elections, and a degree of political stability.
Last month, Israel appointed Lotem as its first ambassador to Somaliland, after the two governments formally established full diplomatic relations.
Lotem, who was serving as a non-resident economic ambassador to Africa at the time of his appointment, will now shift to work as a non-resident ambassador to Somaliland. He previously served as Israel’s ambassador to Kenya, Uganda, Tanzania, Malawi, and Seychelles, a position he concluded in August.
In his interview, Lotem described the growing bilateral relationship as part of Israel’s broader diplomatic and strategic push across Africa, saying the partnership also sends a wider message of legitimacy and engagement to Muslim-majority countries throughout the region.
“Over the past several years, Israel has invested significant diplomatic effort in strengthening its presence across Africa, an initiative that Foreign Minister Gideon Saar has strongly prioritized, and the results are already becoming visible very quickly,” the diplomat said.
He also pointed to what he described as major untapped potential for economic cooperation, particularly regarding Somaliland’s vast natural resources and minerals sector — including oil, gas, coal, iron, and gold.
“They are extremely interested in partnering with Israel across the entire minerals industry supply chain,” Lotem said, adding that there are also strong prospects for cooperation in energy, medicine, agriculture, education, water management, and communications.
“We hope more countries will come to recognize the strategic value and importance of this relationship,” he continued.
Although no other UN-recognized country has formally recognized Somaliland (Taiwan did so in 2020), several — including the United Kingdom, Ethiopia, Turkey, the United Arab Emirates, Denmark, and Kenya — have maintained liaison offices, allowing them to engage diplomatically and conduct trade and consular activities without full formal recognition.
According to experts, the growing Israel-Somaliland partnership could be a “game changer” for the Jewish state, boosting the country’s ability to counter the Iran-backed, Yemen-based Houthi terrorist group while offering strategic and geographic advantages amid shifting regional power dynamics.
“Somaliland’s significance lies in its geostrategic location and in its willingness — as a stable, moderate, and reliable state in a volatile region — to work closely with Western countries,” argued a report by the Institute for National Security Studies (INSS), a prominent Israeli think tank.
“Somaliland’s territory could serve as a forward base for multiple missions: intelligence monitoring of the Houthis and their armament efforts; logistical support for Yemen’s legitimate government in its war against them; and a platform for direct operations against the Houthis,” it continued.
Somaliland President Abdirahman Mohamed Abdullahi has previously said that the republic would join the Abraham Accords, calling it a step toward regional and global peace and affirming his government’s commitment to building partnerships, boosting mutual prosperity, and promoting stability across the Middle East and Africa.
The strategic partnership comes at a time when Israeli and US officials have warned of rising Islamist terrorist threats across Sub-Saharan Africa, placing the region at the forefront of global concern over jihadist activity.
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‘We Are One Community’: New York University Condemns Swastika Flag Raised Near Campus
Swastika flag raised over New York University this week. Photo: Screenshot
New York University (NYU) on Thursday condemned the raising of a flag containing the swastika near its campus in the Greenwich Village section of New York City, an incident which comes amid a spate of antisemitic hate crimes across the municipality.
“Campus safety responded immediately to remove it, and we are working closely with the NYPD to identify whoever is responsible,” NYU said in a statement after news of the act went viral on social media. “We are one community. We protect each other. And we will not let hate and division find a foothold on our campus.”
Designed to counterfeit NYU’s official purple and white standard, the offensive display featured two swastikas flanking the Star of David in a blue and white color palette representing the state of Israel. Historically, similar illustrations and symbols signal belief in antisemitic conspiracies of Jewish power and control, and in recent years anti-Zionists at NYU have castigated the university’s academic partnerships with Israel, as well as its efforts to combat antisemitism.
Anti-Zionists active in the Students for Justice in Palestine (SJP) organization have alluded to antisemitic conspiracies to criticize Israel’s alliances before. Just last month, SJP’s Duke University chapter posted on social media a political cartoon in which “Zionism” is personified as pig hoisting a Star of David while its arm interlocks with another pig, labeled “US Imperialism,” hoisting the Torch of Liberty.
Historically, depicting Jews as pigs has been done to reduce them to the status of animals and mock the fact that dietary restrictions forbid Jews to eat pork.
The perpetrators of the NYU incident remain at large. The incident comes amid a surge in antisemitic hate crimes across New York City.
Jews have been targeted in the majority of all hate crimes committed in New York City this year, continuing a troubling trend of rising antisemitism following Hamas’s Oct. 7, 2023, massacre across southern Israel.
Over the past couple weeks, there have been multiple incidents of rampant swastika graffiti across the borough of Queens, highlighting the extent of the antisemitism crisis in the city home to the world’s largest Jewish population outside of Israel.
Meanwhile, mobs of anti-Zionist activists have descended on multiple synagogues over the same period to protest Israeli real estate events.
In addressing the swastika flag incident on Thursday, New York City Mayor Zohran Mamdani, who has been accused of doing too little to combat the rise in antisemitism, appeared to acknowledge the Jewish community’s concerns about the intentions of his administration.
“This hateful antisemitic act was meant to spread fear among and intimidate Jewish New Yorkers. It has no place in our city,” he said. “Our administration is committed to fighting antisemitism in all its forms and protecting the safety of Jewish New Yorkers. The NYPD Hate Crime Task Force is investigating this despicable act, and I am confident those responsible will be held accountable.”
Follow Dion J. Pierre @DionJPierre.