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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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A new Hebrew press in Berlin argues that Israel doesn’t own the language
(JTA) — Dory Manor and Moshe Sakal, who run a press for Hebrew literature in Berlin, are often asked if their business is Israeli.
The partners in life and publishing come from Israel, though they have lived in Berlin and Paris for the better part of two decades. But they say their publishing house, Altneuland, is neither Israeli nor European. Instead, they sought to create a home for Hebrew literature from around the world — open to Israeli writers, but free from Israeli state funding.
Altneuland is the first non-religious Hebrew publishing house to set up outside of Israel since the state was established. Manor and Sakal founded the press in 2024, and this fall, Altneuland will launch in the United States.
“I believe that the Hebrew language is not only a national language,” said Manor, the editor-in-chief. “Hebrew has always been a global language, and even modern Hebrew has been an international language — mostly European, but not only — before the creation of the State of Israel.”
Manor and Sakal have expanded their mission from Hebrew literature to publishing Jewish authors across languages, including German, French, Russian and Yiddish. The U.S. launch will include an original English-language book by Ruth Margalit, along with English translations of Hebrew novels by Noa Yedlin and Itamar Orlev.
Altneuland is also the German publisher of “The Future is Peace,” a New York Times bestseller by Israeli Maoz Inon, whose kibbutznik parents were killed on Oct. 7, 2023, and Palestinian Aziz Abu Sarah, whose brother died in 1990 after being tortured in an Israeli prison.
In a time when thousands of authors and publishers globally have pledged to boycott Israeli institutions over what they identify as a genocide perpetrated by Israel in Gaza, Manor and Sakal say that Altneuland is not a boycott. They work with writers who live in Israel and sell to Israeli bookstores. Establishing a Berlin-based publishing house made them ineligible for Israeli public funding so they could avoid the fraught question of accepting support from the government.
Sakal, the publisher, acknowledged that Israel was a center for Hebrew and Jewish literature, but said it doesn’t have to be the only center. “We are not replacing it,” he said. “We are doing something else.”
Altneuland allows the founders to work with Israelis while staying apart from the Israeli Ministry of Culture, which provides funding for Israel’s publishing industry, largely through literary awards.
In January, the ministry canceled its annual culture prizes. Culture Minister Miki Zohar, a member of Prime Minister Benjamin Netanyahu’s right-wing Likud party, cited the political bent of the prizes and said their cancellation was owed to the organizers “clearly ignoring artists whose opinions are held by most of the country.” The cuts came shortly after Zohar launched an alternative state film award ceremony, cutting funds to the Ophir Awards — Israel’s equivalent of the Oscars — after it awarded best film to “The Sea,” about a Palestinian boy in the West Bank who attempts to go to Tel Aviv and see the sea.
Israel’s literary world, which pays poorly and lacks broad recognition, depends heavily on state-sponsored prizes.
“This government is, for me, an enemy of Israel and not Israel itself,” said Manor. “So no, I’m not boycotting anyone, but I don’t want to deal with the current Israeli government. I do want to deal with Israeli readers, with Israeli writers.”
Those writers share many of Manor and Sakal’s political views. The founders’ goal is to make Altneuland a home for Jewish authors with a liberal outlook — especially those who feel pressured by rising nationalism, whether in Israel or elsewhere.
Margalit, a Tel Aviv-based journalist, will publish a collection of her political and cultural profiles in Israel through a collaboration between Altneuland and Pushkin Press. Her book, “In the Belly of the Whale: Portraits from a Fractured Israel,” is coming out in September.
Margalit said she was drawn to Manor and Sakal’s “humanist spirit,” along with their ability to publish the book simultaneously in English, Hebrew and German.
“At a time when so many people are quick to jump to labels or cancellations, it was bracing to find thoughtful partners who were similarly aggrieved about the political situation as I was,” she said.
Arad’s Hebrew novel, “Our Lady of Kazan,” will be published in German by Altneuland as “Kinderwunsch” in July. Arad, an Israeli-born writer, has lived in California for over 20 years and authored 12 books of Hebrew fiction. One Haaretz reviewer summed her up as “the finest living author writing in Hebrew” who was “in exile in the U.S.”
Arad’s books, often featured on bestseller lists in Israel, tend to deal with Israelis living abroad. The theme fits into the global perspective of Altneuland, targeting readers who are curious about crossing national boundaries.
“I’ve been thrilled to see that Israeli readers are willing — even eager — to read stories about Israeli expatriates,” said Arad. “The experience of living outside Israel, whether temporarily for work or study or on a more permanent basis, has become a central theme in Hebrew literature.”
Altneuland takes its tongue-in-cheek name from Theodor Herzl’s 1902 novel, literally meaning “old new land.” The founder of political Zionism envisioned a utopic, multicultural Jewish state where Jews and Arabs lived peacefully together.
“When we finally decided to call our press Altneuland, it was because our Alteuland, an ‘old new land,’ is a land without territories. It is the Hebrew language,” said Manor.
Berlin is a thriving hub for up to 30,000 Israeli expatriates. Among them is a growing community of writers and intellectuals, including some who left Israel out of frustration and anger at their government.
Manor and Sakal see another reason for making Berlin their home base. They view Altneuland as a continuation of Schocken Verlag, a Jewish publishing house in Berlin that improbably persisted through the 1930s. Schocken Verlag was a cultural lifeline for Jews under Hitler’s regime, publishing books by Franz Kafka, Heinrich Heine, Rabbi Leo Baeck and Shmuel Yosef Agnon, a founding father of modern Hebrew literature.
In 1939, the publishing house was finally forced to shutter and moved to British Mandate Palestine. The reestablished Schocken Books lives on today as part of Penguin Random House. But Manor and Sakal said their project aligns with the original Schocken Verlag — the one destroyed by Nazism.
“What we find in both models is the possibility of a Jewish cultural space that is cosmopolitan, multilingual, humanist, non-national, and not dependent on a single territory,” said Sakal.
Altneuland has faced skepticism, particularly from Israel. Publisher and editor Oded Carmeli said in Haaretz, “The truth is that there aren’t enough Hebrew readers outside of Israel to support a publishing house – not even a bookstore, not even a shelf in a bookstore – and even if there were enough readers, no store in Berlin or Madrid would maintain such a shelf, for fear of repercussions.”
The Altneuland duo said their risky proposition is working out so far. Most of their Hebrew readers remain in Israel, where they are printing books in the thousands and going into second printings on select titles. But they are also cultivating a readership in Germany, where they print smaller special runs of Hebrew-language editions.
Naomi Firestone-Teeter, the CEO of the Jewish Book Council, said that Altneuland has emerged as pressure mounts on Jewish authors from the right and the left through “book bans, boycotts and cancellations.” (The council itself was recently criticized by dozens of Jewish authors for a “bias toward centering Israeli and Zionist voices.”)
“In this moment, we see their effort to build another home for Hebrew literature and Israeli voices as a meaningful contribution to the Jewish literary landscape,” said Firestone-Teeter.
Altneuland’s books in German and English are the fruit of collaborations with Pushkin Press and New Vessel Press. Manor said they were “positively surprised” when they began talks about working with publishers in Europe and North America. Those conversations began in the immediate aftermath of Oct. 7, and continued against the backdrop of a rising international chorus that has accused Israel of committing genocide in Gaza. So far, no one has boycotted them.
“Usually we had interesting talks, very open talks with people who understood, in most cases, the nuances between our being a Hebrew publishing house and Israel as a state, Israel as a regime,” said Manor. “This is something that we could not predict when we created Altneuland.”
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Jewish library and Chabad near Buenos Aires attacked, Argentine Jewish advocates say
(JTA) — Counterterrorism officials in Buenos Aires are investigating after a Jewish library and a Chabad center in a suburb in the Argentine capital were attacked last week.
On Thursday night, a Molotov cocktail was thrown at the Israeli Literary Center and Max Nordau Library in La Plata, according to a statement published Friday by the center’s board of directors. Multiple individuals “threw a blunt object filled with fuel at the front of the library, breaking windows and causing material damage,” the board said, noting that the device did not ignite and no one was injured.
The library, a secular educational center founded in 1912 that promotes Argentine Jewish culture, said it is reinforcing security measures in light of the attack.
On Sunday, the Chabad of La Plata was also attacked, according to DAIA, the Argentine Jewish community group, which condemned both attacks. DAIA, which first reported the Chabad attack, did not describe the nature of the attack beyond reporting no injuries.
“We are deeply concerned about the recurrence and the short timeframe of these incidents,” DAIA said in a statement.
The Ministry of Security of the Province of Buenos Aires and the Complex Crimes and Counterterrorism Unit of the Buenos Aires Provincial Police are investigating both attacks.
La Plata’s Jewish population numbers about 2,000, and its Chabad center has existed for more than 25 years. Argentina as a whole is home to the sixth-largest Jewish community in the world and the largest in Latin America, mostly centered in Buenos Aires.
“These acts of violence threaten democratic coexistence and the values of respect and pluralism that we defend our neighbors,” La Plata Mayor Julio Alak said. “We will not allow hatred and intolerance to have a place in our city.”
Argentina is the site of some of the deadliest attacks on Jewish institutions in modern history. A 1992 bombing of the Israeli Embassy in Buenos Aires killed 29 people, while a 1994 attack on the AMIA Jewish community center left more than 80 people dead. Argentina’s president, Javier Milei, a pro-Israel and philosemitic economist, has advanced efforts to hold Hezbollah and Iran responsible for their alleged role in the attacks after years of foot-dragging by prior leaders.
The incidents in La Plata come as Jewish institutions around the world are on high alert amid a string of attacks since the start of the U.S.-Israel war on Iran in February. Several synagogues and Israeli outposts in Europe have faced arson attacks that a group seen as tied to Iran have claimed responsibility for staging. No one has been injured in those attacks.
Argentina has also faced homegrown antisemitism scandals. In September, a video of a group of Buenos Aires high school students on a graduation trip chanting “Today we burn Jews” went viral, earning condemnation from Jewish community advocates and even Milei himself. The group, from the private school Escuela Humanos, was traveling with Escuela ORT, a Jewish school.
Following the attacks in La Plata, comments on a local news outlet’s Instagram post about the attack on the local Chabad Sunday were filled with antisemitic tropes, including blood libel and false flag theories. Antisemitism watchdogs say false flag allegations, holding that an operation is staged to look like an attack in order to garner sympathy for the victim or attribute blame to another party, have flourished in recent years against Jews and Israel.
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Cornell’s Jewish president clashes with students following on-campus debate about Israel
(JTA) — Cornell University President Michael Kotlikoff and student protesters are trading accusations after an incident in which protesters surrounded the president’s car following an on-campus debate about Israel.
The protesters, from a group called Students for a Democratic Cornell, released a video appearing to show that President Michael Kotlikoff had backed up into one of them while a protester shouts that the car ran over his foot.
In response, Cornell released its own video depicting what it said was a “harassment and intimidation incident,” its enhanced version of which it said offered “complete footage of the parking lot interactions, instead of clips to support a narrative.” That video shows students surrounding the president’s car as he tries to exit his parking space. After he eventually departs, the students continue to mill around with no obvious indication of injury to any of them.
In a statement of his own, Kotlikoff said that despite being surrounded by protesters who banged on his car windows, he waited until his backup camera showed a clear path before maneuvering out of the spot.
“The behavior I experienced last night is not protest,” Kotlikoff said in his statement, released Friday night. “It is harassment and intimidation, with the direct motive of silencing speech. It has no place in an academic community, no place in a democracy, and can have no place at Cornell.”
In an Instagram post, the protesters rejected Kotlikoff’s claims that they banged on his car and that they had previous records of misconduct on campus. They also reiterated their allegation that he had struck them.
The incident marks a relatively rare example of a clash between a university and pro-Palestinian student protesters two years after the student encampment movement roiled campuses across the United States, including at Cornell. The Ivy League university, like many others, enacted new rules designed to constrain protests that have kept demonstrations at bay amid pressure from the Trump administration to curb what it said was antisemitism among protesters. In November, Cornell agreed to pay $60 million to resolve federal antisemitism allegations.
Kotlikoff became Cornell’s president in early 2025, saying at the time that he was “very comfortable with where Cornell is currently” following “two relatively peaceful semesters” in which there were only isolated incidents that violated university rules around protest. He soon rejected pro-Palestinian students’ demands to cut ties with the Technion university in Israel. But he also urged the campus to foster academic debate around the Israeli-Palestinian conflict.
The event that preceded his clash with students on Thursday represented a striking example of such debate. Sponsored by an ideologically diverse array of groups, including the pro-Israel advocacy groups StandWithUs and the Zionist Organization of America as well as the campus chapter of Students for Justice in Palestine, which has previously been suspended for violating university rules, the event was the second in a two-part “Israel-Palestine Debate Series.”
The series was organized by the Cornell Political Union according to a format its website says it has long maintained. The format features a lecture by a speaker followed by formal responses from students and an audience debate.
In the first event, held earlier in April, the Israeli historian Benny Morris lectured on the topic “The American-Israeli Alliance Serves America’s Interests.” Morris is a liberal Zionist critic of the Israeli government whose work has included foundational research on the founding of the state arguing that many Arabs were expelled, rather than fled, during the 1948 war.
The second, on Thursday, featured the pro-Palestinian Holocaust historian Norman Finkelstein, who lectured on the topic “Israel Was Not Justified in Its Response to October 7th.” Finkelstein, who has criticized Morris for showing a pro-Israel bias, has compared the plight of the Palestinians to that of Jews during the Holocaust, and Students for Justice in Palestine posted a picture of its members posing with him on Thursday.
Kotlikoff offered introductory remarks at the event, which promoted a no-technology policy designed “out of respect to student[s] who will be given the opportunity to speak openly on a divisive topic.”
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