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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 Psychology Behind the Rise in Right-Wing Antisemitism
Tucker Carlson speaks on July 18, 2024, during the final day of the Republican National Convention at the Fiserv Forum in Milwaukee, Wisconsin. Photo: Jasper Colt-USA TODAY via Reuters Connect
Over the past year or so, there has been a strange and unsettling shift on parts of the political and cultural right. Figures who built their influence by pushing back against progressive excess, moral confusion, intellectual laziness, and the erosion of democratic values have begun drifting into territory that should have been left behind long ago — antisemitic tropes, conspiratorial thinking, and flirtations with ideas they themselves once would have dismissed as corrosive and dangerous.
It has been very upsetting to watch, not least because many of these voices rose to prominence by presenting themselves as more serious, more grounded, and more responsible than the alternatives they criticized.
Some have pointed to foreign money and malign external influences – with Qatar chief among them as a reliable patron of some of the most destructive forces in the modern world – as an explanation. It would be naïve to deny that such actors play a role. But that explanation, on its own, is not enough to explain this phenomenon.
Even if Qatari money helps shape narratives at the top of the pyramid – and their possible involvement absolutely deserves scrutiny – it does not explain the sheer number of willing followers who nod along to contentious statements and ridiculous conspiracies without being paid a cent by anyone.
Elite influencers may be driven by incentives tied to financial or political power, but the grassroots level is clearly motivated by something else. Money may help light the match, but it does not explain why so many people are eager to watch the fire burn – and then cheer it on.
The instinctive response is to frame all of this as ideological betrayal – and then to draw battle lines, or to declare that the political culture of Western democracies is fundamentally broken. But that reaction is the wrong approach. It shuts down thought precisely when careful thinking is needed most. Because at its core, something more human – and far more familiar – seems to be going on.
What makes this moment so counterintuitive is that this regression on the right has not emerged from defeat or marginalization. It has emerged from success.
The stunning political victory by the Republicans in November 2024 should, in theory, have been followed by a period of consolidation – a sharpening of ideas and a renewed sense of responsibility. Instead, we are witnessing a growing rift between principled conservatism and a darker, more reckless version of right-wing beliefs. That paradox suggests we are dealing less with ideology than with a psychological response to the sudden expansion of freedom and power.
We tend to assume that success produces stability and confidence. History suggests otherwise. When people or movements feel genuinely embattled, they often develop discipline, clarity, and a strong sense of shared purpose – an understanding of what matters and what must be set aside for the greater good.
But when the wind is at their backs, and a threat – real or imagined – appears on the horizon, the result is often anxiety: “We might lose what we have!” And anxiety is dangerous. It clouds judgment and tempts people to reach for ideas they already know are corrosive, simply because they feel familiar.
History offers some sobering examples. After years of devastating war under Napoleon, France in 1814 finally rid itself of him and he was exiled to Elba. The country had a rare opportunity to step back, recover, and build something more stable and restrained. But when Napoleon escaped from Elba a year later and returned to France, large parts of the country welcomed him back.
Soldiers sent to arrest him joined him instead. Within weeks, France had re-embraced the very man who had brought it to ruin, and 100 days later, they paid for it at Waterloo. The regression was not imposed from above. It was embraced from below – and it was an utter disaster.
Ancient Rome offers a similar lesson. The Roman Republic was built on restraint, combined with a sophisticated system of checks and balances and a healthy suspicion of the concentration of power into the hands of one man. And yet Julius Caesar’s rise was welcomed by many as a solution to a period of dysfunction.
He was appointed dictator, and what followed was not renewal but the oppressive age of emperors. Rome gained order but lost its liberty. Once again, faced with uncertainty, a civilization chose a familiar system that was bad over the harder work of repair and healing — and they called it progress.
The Torah identifies this same flaw in human nature at the very beginning of Jewish history, in Parshat Beshalach. Just days after experiencing one of the most dramatic liberations ever achieved by a slave nation – the Exodus from Egypt – the newly freed Jewish people find themselves trapped between the sea and Pharaoh’s approaching army.
Despite everything they know – that God has redeemed them, that awesome miracles have carried them this far – panic sets in. They turn on Moses and cry out: “Was it because there were no graves in Egypt that you took us out to die in the wilderness?”
And then comes a line so jarring that it almost feels like parody (Ex. 14:12): טוֹב לָנוּ עֲבֹד אֶת־מִצְרַיִם מִמֻּתֵנוּ בַּמִּדְבָּר – “It would have been better for us to serve Egypt than to die in the wilderness.”
How is this even possible? These are people who have just witnessed the collapse of the most powerful empire on earth for their benefit – who are, in that moment, at the very top of their game. And yet, even as they bask in the glow of victory, the instant their freedom begins to feel fragile, their instinct is not to move forward into the rational unknown but to retreat into what they already know is irrational evil.
That is the crucial point. It is not a calculation that makes sense, nor is it a carefully thought-out strategy; it is a psychological reflex, and a dangerous one. Faced with what feels like an existential threat, people often reach for the familiar – even when that is the worst possible thing they could do.
Which is what makes the current flirtation with antisemitism and conspiracy thinking on certain parts of the right so disturbing. These are old instincts, long known to be destructive, that have now resurfaced because they feel familiar, as some on the right feel tinges of anxiety.
But familiarity is not necessarily wisdom; far more often, it is a dangerous trap. A recent study suggests that engagement with antisemitic conspiracy theories on the right has risen dramatically since the November 2024 election. Unless this trend is halted, it won’t end well.
The Torah’s message at the sea is uncompromising. The way forward is not to turn backward. Redemption does not come from retreating into the habits and ideas that once enslaved and degraded us. The sea will open up and offer salvation only when someone is willing to step into it – to take the risk, and to trust that moral clarity and courage still matter.
Regression may feel comforting, but it leads nowhere. The only way forward is through.
The author is a rabbi in Beverly Hills, California.
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Karen Jones and the Institutionalization of Medical Dhimmitude
Illustrative: Health workers move a woman on a stretcher to an ambulance after a deadly terrorist shooting at a Hanukkah celebration at Bondi Beach in Sydney, Australia, on Dec. 14, 2025. Photo: Screenshot
The reports emerging from Sydney’s Liverpool Hospital are not merely a localized administrative failure; they represent a chilling indicator of a new, institutionalized “dhimmitude” taking root in the heart of Western society.
Rosalia Shikhverg, a survivor of the horrific Bondi Beach Hanukkah massacre on Dec. 14, was admitted for treatment of shrapnel and gunshot wounds to the head. While she lay in her hospital bed, terrified and recovering from a terror attack that claimed 15 lives, staff — without her knowledge or consent — snipped her medical wristband and replaced it with a new one. Her name was gone. In its place was the alias “Karen Jones,” with her religious status completely scrubbed from official records.
The hospital’s defense, offered through state health officials, is perhaps more terrifying than the act itself. Officials claimed the name change was a “protective measure” to shield a high-profile victim from media intrusion following the heightened risks in Sydney. But Shikhverg’s own account points to a more sinister and systemic motivation: the hospital administration apparently did not trust its own staff to provide equal, safe care to a patient identified as Jewish. Shikhverg recounted how the switch left her more focused on a fear of her caregivers than her physical injuries, crying incessantly and pleading for an early discharge because she felt profoundly unsafe.
This incident represents the logical culmination of a process by which the values of the Middle East’s most regressive ideologies are imported into Western civil society. When a premier medical institution in a Western democracy feels compelled to erase a Jewish patient’s identity to ensure her safety from the very people hired to heal her, we are no longer talking about a mere “spillover” of the Gaza conflict. We are witnessing the surrender of Western professional ethics to the mob.
This is the rebirth of dhimmitude. In the classical tradition, the dhimmi was a protected non-Muslim subject granted life and property only on the condition of submission and the public erasure of their distinct identity.
In 2026, a modern hospital has effectively recreated this status. By stripping Shikhverg of her name and her religion, the hospital sent a clear message: Jewish identity is a provocation and a “safety risk” that the state can no longer manage. It suggests that the only way to protect a Jew in a modern metropolis is to ensure that they are no longer recognizable as a Jew.
This betrayal is not an isolated event. It follows the recent suspension of nurses at other nearby facilities who were caught on video bragging about their refusal to treat Israelis and expressing a desire to kill Jewish patients. The “Karen Jones” incident shows that instead of purging these radical elements from the health-care system, administrators have chosen a path of appeasement. They have decided that it is easier to erase the patient than to confront the radicalization of the workforce.
The “long march through the institutions” by radical ideologues has finally reached the bedside. We have seen this pattern on campuses, where “Jew-free zones” are established under the guise of “safe spaces,” and in the courts, where legal harassment is used to silence critics of extremism. Now, the hospital ward has become the next frontier of exclusion. If a nurse or a doctor cannot look at a patient with a Jewish name without the administration fearing for the patient’s life, then the social contract of the Western democracy has been fundamentally breached.
If the West is to survive this ideological assault, the response must be uncompromising. There must be a full, independent audit of radicalization within the public health systems of major Western cities. The administrators who authorized the erasure of Rosalia Shikhverg’s identity must be held legally and professionally accountable for civil rights violations. Furthermore, governments must recognize that non-violent subversion of Western values is just as dangerous as the violent jihad that targeted Boni Beach on Hanukkah.
Rosalia Shikhverg survived the bullets of a terrorist only to be erased by the bureaucracy of a hospital. We must ensure that “Karen Jones” is the last alias a Jew is forced to wear in a Western democracy. Peace and security cannot be built on a foundation of coerced invisibility. The survival of pluralistic society depends on the ability of every citizen to exist openly, without fear that their identity will become a death warrant in the hands of those sworn to protect them.
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Palestinian Terrorists Admit Their Own Rockets Kill Gazans, and the Media Look the Other Way
People inspect the area of Al-Ahli hospital where Palestinians were killed in a blast from an errant Islamic Palestinian Jihad rocket meant for Israel, in Gaza City, Oct. 18, 2023. Photo: REUTERS/Ahmed Zakot
A document seized in Gaza and reported by Israel’s Kan public broadcaster exposes a reality that sharply contradicts much of the global coverage of the Israel-Hamas war: Palestinian civilians have long been killed by Palestinian rockets and terrorist leaders knew it, discussed it, and accepted it.
The document records a meeting between Hamas and Palestinian Islamic Jihad officials held before Hamas’s Oct. 7, 2023, massacre across southern Israel and the war that followed. In it, Hamas representatives confront Islamic Jihad leaders over a deadly and recurring problem: rockets misfiring and landing inside Gaza, killing civilians.
“Your rockets are falling on people’s homes, and this is a recurring issue,” a Hamas official is quoted as saying.
The response from Islamic Jihad is even more damning. “We are at war,” a senior representative of the terrorist group replies. “Even if a thousand people are killed by friendly fire, that is the price of war.”
This is not a battlefield mishap acknowledged after the fact. It is an explicit, pre-war admission that Palestinian terrorist groups were aware their weapons routinely killed civilians and that they viewed those deaths as acceptable.
The document also records Islamic Jihad officials admitting that they knew their rockets were defective. According to the report, the weapons were manufactured using blueprints supplied by Iran’s Islamic Revolutionary Guard Corps. In other words, unreliable rockets were knowingly produced, launched from densely populated areas, and expected to fall short.
Image of the seized document, as presented by Kan Public Broadcaster
This matters because it directly undermines a central assumption that has dominated coverage of Gaza for years and intensified after Oct. 7: that civilian casualties are almost entirely the result of Israeli fire.
Kan’s report does not quantify how many Gazans have been killed by Palestinian rockets. But it does establish something journalists have consistently avoided confronting: terrorist groups themselves acknowledge that their own fire kills civilians and that this has been happening for years.
That reality burst briefly into view 10 days after the war began, when a PIJ rocket exploded in the courtyard of a Gaza hospital, killing hundreds of Palestinians. Israel was immediately blamed across much of the international media. Only later did evidence emerge that the blast was caused by a misfired Palestinian rocket.
This newly revealed document shows that the incident was not an anomaly. It was a known risk discussed internally long before Oct. 7.
So, why has this revelation barely registered outside Israel?
Journalists often justify their reliance on casualty figures and on the fog of war. But here, there is no ambiguity. This is a primary source document describing internal discussions between terrorist groups, criticizing each other for weapons failures and explicitly accepting civilian deaths as collateral.
If such a document emerged showing Israeli officials dismissing civilian deaths as “the price of war,” it would dominate headlines worldwide. When terrorist groups say it among themselves, it is met with silence.
This selective attention has consequences. Media outlets routinely report Gaza casualties without asking how many were caused by Palestinian fire. They rarely revisit earlier claims when new evidence emerges. And they almost never scrutinize the conduct of terrorist groups with the same intensity they apply to Israel.
The Kan report exposes not just the recklessness of Palestinian terrorist organizations but the media’s unwillingness to reckon with it. By ignoring evidence that complicates a simplified narrative, journalists deprive audiences of essential context and accountability.
This document does not absolve Israel of scrutiny. But it does demand that journalists stop treating Palestinian armed groups as passive actors whose actions are irrelevant to civilian harm.
Terrorists killing their own civilians is not a footnote. It is a central fact of this conflict. The question is no longer whether the evidence exists.
It is why so many in the media choose not to report it.
The author is a contributor to HonestReporting, a Jerusalem-based media watchdog with a focus on antisemitism and anti-Israel bias — where a version of this article first appeared.