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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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Jewish Student Leader Targeted in Two Antisemitic Incidents in Berlin
Graffiti reading “Kill all Jews” was discovered on a residential building in Berlin-Pankow on April 26, 2026, part of a wave of antisemitic vandalism reported across the German capital over the past week, including swastikas and other hate-filled slogans scrawled on multiple sites. Photo: Screenshot
Amid a relentless wave of hostility toward Jews across Germany, the president of the Union of Jewish Students revealed he was targeted in two antisemitic incidents in Berlin within a single week, intensifying alarm within an increasingly embattled community.
In an interview with the German Jewish newspaper Jüdische Allgemeine, Ron Dekel described a string of confrontations that began last Thursday after he left a discussion on antisemitism at the Bundestag, Germany’s federal parliament, marking the start of a troubling sequence of incidents.
While walking near Berlin’s government district, he and another union member were allegedly followed by a car blasting loud music. Inside the vehicle, the driver and two female passengers reportedly shouted “Free Palestine” and “To hell with Israel,” while also making obscene gestures.
After Dekel shared a video he recorded of the incident online, it quickly drew hundreds of thousands of views before being taken down, with him also facing a barrage of insults and threats demanding its removal.
At the time, Dekel said one of his friends filed a police complaint in connection with the incident, but authorities have yet to identify any suspects.
A few days later, Dekel recounted encountering the same group of people again outside a synagogue following an event at a Jewish community center, where they approached him and demanded he delete the video.
According to his testimony, the group remained in a car outside the synagogue, while one of the women sat at a nearby café appearing to monitor those entering and leaving the building.
Dekel said the woman even attempted to enter the synagogue, trying to persuade security guards to let her inside before a rabbi intervened and asked her to leave.
“I still do not know how she knew where I was,” Dekel told Jüdische Allgemeine. “It makes me uncomfortable.”
Even after reporting the second incident to police, Dekel said he no longer feels safe, describing what he sees as a broader pattern of harassment since he began openly wearing a kippah earlier this year.
Despite the intimidation, Dekel said he would continue visibly wearing Jewish symbols, underscoring the growing sense of unease surrounding Jewish life in Germany.
“It has religious meaning for me,” he said. “But it also hurts my sense of justice that Jews in Germany in 2026 are being advised not to appear visibly Jewish. I do not want to hide, and more young Jews today feel the same way.”
Like most countries across Europe and the broader Western world, Germany has seen a shocking rise in antisemitic incidents over the last two years, in the wake of the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
According to recently released figures, the number of antisemitic offenses in Berlin 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.
In one of the latest antisemitic incidents in the country, a synagogue in Cottbus, a city in eastern Germany, was defaced on Monday with a swastika painted on its facade, marking the second time in just four days that the Jewish house of worship had been vandalized.
Separately, authorities also discovered antisemitic graffiti on Sunday across several apartment buildings in Berlin-Pankow, including messages reading “Kill all Jews,” a swastika, and the statement “Only a dead Jew is a good Jew,” in a series of disturbing incidents over the week.
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Duke University Lifts Suspension of Students for Justice in Palestine Despite Acknowledging Group’s Antisemitic Post
April 22, 2026: The entrance to Duke University campus, located in Durham, North Carolina. Photo: ZUMA Press Wire via Reuters Connect.
Duke University’s Office for Institutional Equity (OIE) has reversed an earlier decision to suspend Students for Justice in Palestine (SJP) for sharing an antisemitic political cartoon on Instagram, arguing that the action fell short of violating the school’s code of conduct despite acknowledging that it “alludes to antisemitic tropes.”
The puzzling move was first reported on Monday by The Duke Chronicle, the official campus newspaper. In correspondence between the office and SJP shared by the outlet, OIE official Sharon Gooding told the group that “the post, while offensive, in that it alludes to antisemitic tropes, does not violate the Policy on Prohibited Discrimination, Harassment, and Related Misconduct because there was insufficient evidence to support the existence of a hostile educational environment.”
As previously reported by The Algemeiner, the illustration depicts a pig labeled “Zionism” hoisting a Star of David as its arm interlocks with another pig, labeled “US Imperialism,” hoisting the Torch of Liberty. It is the work of political cartoonist Emory Douglas, a Black Panther party official who harbored hostility toward the US and Israel.
Word of the social media post spread across the Duke Jewish community, the Chronicle said, prompting no fewer than 10 Jewish students to file formal complaints with the university on the grounds that its evocation of anti-Jewish hatred is obvious. 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 Nazis notoriously did so, but the practice reaches back further back into time, when medieval Germans proliferated the Judensau drawings which portrayed Jews drinking pig’s milk and excrement.
However, despite the context of the image, as well as SJP’s history of harassing and intimidating Jews on campuses across the US, Duke University has told the group it is closing its investigation into the matter and returning the organization to “full status.” The decision unfreezes thousands of dollars in funding and allows SJP to operate unfettered for the remainder of the academic year.
Speaking to the Chronicle, SJP argued that the group is a victim of censorship and expressed doubt that the university even has the authority to sanction it for breaking the rules.
“It took over a month of written correspondence, legal counsel, and public advocacy for our organization to access the basic procedural rights Duke’s own policies guarantee to every student organization,” the group said. “The fact that we had to fight at all is the problem.”
Meanwhile, Jewish advocacy groups and students told The Algemeiner on Tuesday that Duke University has missed an opportunity to send a clear anti-hate message.
“Since ancient times, Jews have been compared in derogatory terms to barnyard and wild animals,” the Louis D. Brandeis Center for Human Rights Under Law said in a statement. “Such disturbing discourse has long been markers for antisemitism and there should be no tolerance for it at Duke. It is essential that university administrators, faculty, and students on campus understand the types of tropes that characterize antisemitic discourse.”
Said Shira Shasha, a third year Duke University student and co-president of the school’s Students Supporting Israel (SSI) chapter, “They [SJP] used imagery rooted in Nazi-dehumanization. Regardless of the purpose behind it, it causes real harm and unequivocal hostility to Jewish students on this campus. And that harm does not disappear because an intent was disclaimed.”
Carly Gammill of StandWithUs Saidoff Law, a legal nonprofit based in California, told The Algemeiner, “Universities must be clear-eyed about contemporary attacks against Jewish peoplehood, which merely repackage historic forms of antisemitism, and how this misinformation fuels anti-Jewish bigotry.”
While Duke University has not seen the most extreme examples of campus antisemitism that became a near daily occurrence in higher education after the Hamas-led Oct. 7, 2023, massacre across southern Israel, it has been accused of selectively practicing its commitment to diversity, equity, and inclusion before. In May 2021, amid the Israel-Hamas conflict of that year, the Duke Student Government (DSG) refused to grant recognition to Students Supporting Israel, a status which qualifies student clubs for funding and reserving space in which to hold events.
DSG had originally voted to confer recognition to SSI, however, but then-DSG president Christina Wang vetoed the decision after an SSI member responded publicly to criticism that its presence on campus represented “settler-colonialism.” No hateful statements were uttered by SSI, but Wang cited the exchange as cause for preventing the establishment of a pro-Israel club on campus. Throughout the conflict, the university refused to intervene even as Jewish advocacy groups maintained that Wang had confected a false pretext to justify discriminating against a Jewish group.
Five years later, Duke Jewish students are seeing that same double standard again, SSI National president Ilan Sinelnikov told The Algemeiner.
“It just shows the reality we’re in,” he explained. “They’re just going to get a little tap on wrist.”
Follow Dion J. Pierre @DionJPierre.
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Iran Has Executed At Least 21 People, Arrested Over 4,000 Since Start of War With US and Israel, UN Reports
A February 2023 protest in Washington, DC calling for an end to executions and human rights violations in Iran. Photo: Reuters/ Bryan Olin Dozier
The Islamic regime in Iran has intensified efforts to oppress the civilian population through arrests and executions since the beginning of the conflict with the US and Israel, according to the United Nations.
On Wednesday, the UN Office of the High Commissioner for Human Rights (OHCHR) revealed that Iran had executed at least 21 people and arrested more than 4,000 over the last two months, following the launch of joint US-Israeli strikes on Feb. 28.
Allegations which resulted in death sentences included espionage (two), opposition group membership (10), and involvement with protests (nine).
“In times of war, threats to human rights increase exponentially,” said Volker Türk, the UN High Commissioner for Human Rights.
Türk called for regime officials to “halt all further executions, establish a moratorium on the use of capital punishment, fully ensure due process and fair trial guarantees, and immediately release those arbitrarily detained.”
Iranian courts have reportedly fast-tracked convictions and sentencing in recent months, citing the war as justification.
According to the OHCHR, those detained face brutal conditions, overcrowding, and even torture to coerce confessions. The bodies of some detainees who have died in custody appear to show possible torture. Those detained also experience weaponized medical neglect, a human rights violation which has reportedly led to the deteriorating health of imprisoned Nobel laureate Narges Mohammadi.
In addition to forced confessions, Iranian judges can also resort to the principle of elm‑e‑qazi, a concept in Iran’s Islamic Penal Code which allows a guilty sentence based solely on circumstantial evidence.
Last week, Maryam Rajavi, president‑elect of the National Council of Resistance of Iran (NCRI), spoke about the regime’s executions at the European Parliament in Brussels.
“The mullahs are exploiting wartime conditions to resort to relentless executions to block the path of popular uprisings. Today, political prisoners face the threat of mass killing,” Rajavi said. “The silence of European Union leaders and member states is unjustifiable. And today, I wish to once again raise my voice in protest against this silence in the face of these executions.”
Rajavi added that “a number of young people have been arrested in recent weeks on charges of alleged contact with or support for the Mojahedin Organization,” referring to the People’s Mojahedin Organization of Iran (MEK), an Iranian opposition group.
“The names of a group of them have been submitted to and communicated to international bodies,” she said. “By order of the regime’s judiciary chief, pressure and torture on political prisoners have intensified, and their sham trials and the issuance of criminal sentences have been expedited.”
Stating that 11 political prisoners alleged to be members of the MEK face execution, Rajavi implored that “urgent action must be taken to save their lives. Our position is that a halt to executions in Iran, as a demand of the entire Iranian people, must be included in any international agreement.”
Last month, the Human Rights Activists News Agency (HRANA), an independent group monitoring, released a report documenting that from March 2025 to March 2026, police had arrested 78,907 people on ideological or political grounds.
Executions in the last Iranian year (covering much of calendar year 2025) reached at least 2,488, according to HRANA, with 63 of them women and two children. Drug offenses accounted for 955 executions, approximately three killings per day on average.
The Islamic regime chose to conduct 13 of the executions in public.
Earlier this month, the European groups Iran Human Rights (IHR) in Norway and Together Against the Death Penalty (ECPM) in France released a separate joint report finding that Iran executed at least 1,639 people in 2025, a 68 percent leap from the 975 killed in 2024 and the highest seen since tracking began in 2008. All known executions were reportedly conducted by hanging.
Differences in methodology partially explain the discrepancy in tallies. IHR warned in its report that the full body count is likely much higher, as the group requires two sources to confirm an execution.
Iran’s penal code offers a variety of options for killing a human being, including hanging, firing squads, and even crucifixion or stoning. Hanging was the only method used from 2008 until the firing squad execution of Kurdish political prisoner Hedayat Abdullahpour on May 11, 2020.
In executions for murder under a sentence known as qisas, the Islamic regime encourages the family members of the victim to carry out the killing themselves. IHR has received reports of family members taking advantage of what is regarded as a “right” to do so.
In cases of public executions, prison officials use cranes. This brutal method leaves the condemned suffocating and strangling, lifted above the crowds for as much as 20 minutes before their suffering can conclude.
Photographs have documented children in attendance at public executions in Iran to watch the violence and cruelty. A 2006 study found that 52 percent of 200 children who witnessed public executions in Iran later showed symptoms of post-traumatic stress disorder (PTSD), with “88 suffering re-experiences, 24 avoidance and 62 hyperarousal.”
IHR has not found any executions by stoning since 2010, following the international outcry of the sentencing of Sakineh Ashtiani whose sentence was commuted, allowing her 2014 release.
Given the historical impact of the global community’s condemnations, Iranian officials have sought to hide human rights abuses from the world, imposing an internet blackout for 61 days since the war with the US and Israel began.
“This is denying people across the country access to vital information, silencing independent voices, and inflicting enormous social and economic harm,” Türk said. “It is exacerbating an already precarious humanitarian and economic situation and must be lifted immediately.”
Concluding her address to the European congress in Brussels, Rajavi called on the gathered representatives to implement a new policy toward Iran.
Rajavi advocated an approach that “provides the necessary technical means to ensure the Iranian people’s access to a free internet. Conditions relations with the clerical regime on an end to the execution of political prisoners and the killing of protesters. Brings the regime’s leaders to justice for crimes against humanity and genocide.”