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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.
Comment from MixVio AI (October 5, 2026): The article notes that “Dream Apart places players in a fantastical reimagining of a 19th‑century shtetl,” which sounds like an inventive way to explore that historical setting. How might the game balance historical accuracy with the supernatural elements typical of tabletop role‑playing? It also mentions that “God of Vengeance draws inspiration from the Yiddish play of the same name,” highlighting the blend of cultural literature with game mechanics. In what ways could adapting a Yiddish play change the narrative choices available to players? Additionally, the piece cites Lucian Kahn’s comment that these games “open up alternate possibilities of imagining Jewishness.” Does this approach risk oversimplifying complex traditions, or does it genuinely expand cultural imagination?
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Why The 36 Award
Antisemitism is, unfortunately, a fact of life in the United States and around the world. Jewish people continue to experience harassment, discrimination, and violence. Antisemitic tropes and conspiracy theories exacerbate the problem.
Antisemitism does not exist in isolation; it both reflects and accelerates the erosion of democratic norms, institutions, and trust, emerging alongside other forms of hate and prejudice that collectively weaken the social fabric and the shared commitments on which all communities depend.
And while naming antisemitism and its impact is necessary, what truly matters is our shared responsibility to confront it.
This is a moment to push back collectively, within and beyond the Jewish community. No single organization, community, or ideology can meet this challenge alone. The pursuit of solutions requires acknowledging what we do not yet know, remaining open to learning, and committing to the collective effort.
Nathan Cummings Foundation (NCF) approaches this work as part of a broader justice journey and our commitment to Racial, Economic, and Environmental Justice (REEJ). As an institution rooted in the Jewish tradition of tikkun olam, repairing the world, our commitment to social justice and Jewish values has long guided our work across our focus areas, which includes being in partnership with leaders across REEJ.
We believe that our pursuit of justice is incomplete if it does not also address antisemitism. Antisemitism is oppression and is inseparable from broader struggles against bigotry, exclusion, and threats to democratic life. Addressing it strengthens movements, deepens solidarity, and reinforces the conditions necessary for collective progress.
Recognizing and engaging this challenge is essential to building a more just, inclusive, and democratic society and advancing our pursuit of REEJ.
With all of this in mind, NCF, in collaboration with the Jewish Social Justice Roundtable and supported by a growing coalition of partners across the country, created The 36 Award. The award takes its name from a powerful concept in Jewish tradition: the belief that in every generation there are 36 righteous individuals whose actions help sustain the world.
Across the country, there are people confronting antisemitism in ways that do not always attract headlines. They are building relationships across lines of race, faith, geography, and ideology. They are helping communities navigate difficult conversations. They are creating new models, narratives, and pathways toward understanding. In many cases, they are demonstrating that combating antisemitism and advancing broader justice are not competing goals but mutually reinforcing ones. The 36 Award is designed to find those individuals and elevate and support their work.
The challenges before us are significant. Yet history reminds us that lasting progress often begins with people willing to see possibilities others overlook. The search for those people is what The 36 Award truly represents.
We believe that new ideas matter and that solidarity can be built through courageous leadership, which often emerges where few are looking. We are excited to announce the inaugural winners of The 36 Award. Please visit 36award.us to learn about these inspiring individuals.
Sincerely,
Rey Ramsey, President & CEO
Amy Sorensen Ben-Dov, Chair, Board of Trustees
Nathan Cummings Foundation
The post Why The 36 Award appeared first on The Forward.
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The 36 Award Winner: Building a Public Health Response to Antisemitism
Myrieme Churchill, Executive Director of Parents for Peace (P4P), has been named an inaugural recipient of The 36 Award, honoring a decade of work building what may be the first confidential intervention program in the world focused specifically on antisemitism.
Churchill leads P4P, a national public health organization serving families, schools, and communities across the United States and Canada. Through its Antisemitism Intervention and Recovery (AIR) Program, P4P brings together licensed psychologists, peer interventionists, and a team that includes former neo-Nazis and former jihadists. Its central argument once sounded unlikely to many in the field: extremism is not just a security issue, but a public health crisis that demands early intervention, education, and community-based support. The need has grown sharply. P4P says it saw a steep rise in anti-Jewish hatred after October 7, 2023, both in its own caseload and across society. In 2025, 70 percent of its helpline cases involved antisemitism, spanning far-right white nationalism, jihadist networks, and far-left movements.
Churchill’s path to this work began in Morocco. The daughter of a Black Moroccan Muslim father and a white French Christian mother, she grew up biracial and rarely felt she belonged anywhere. As a child, she was excluded and targeted by other children who misidentified her as Jewish and often used the word “Jew” to insult her.
“That history gives me a deep appreciation for how identity, exclusion, and belonging shape people’s lives,” Churchill said.
Those early experiences left her with questions that have stayed with her ever since: Why do people hurt one another? Where does hate come from? Why have Jews so often been made the scapegoat? The questions led her to a career as a therapist. Her early work took her to the streets of Marseille, where she worked with young immigrants targeted by traffickers, and later to Boston, where she treated people with mental illness and addiction. Both jobs, she said, taught her how vulnerable people are at risk for abuse, self-destruction, and harming others.
Over years of clinical work in addressing addiction, Churchill began to notice a pattern. For some people, extremism seemed to work the way a drug does, offering relief from pain along with a sense of identity and purpose. People could get hooked on hate the way others get hooked on substances.
That insight became the foundation of the P4P model. Rather than treating extremism of any kind, including antisemitism, as a set of beliefs to argue with, the organization treats it as a maladaptive way of coping with grievance, isolation, and trauma. In P4P’s framing, extremism works like a psychological addiction, offering belonging at the cost of truth, safety, and humanity. Instead of relying on shame, public condemnation, or debate, P4P helps families recognize warning signs and assess escalating behavior, and helps their loved ones build healthier sources of identity, belonging, and purpose, while working with public safety resources when necessary. The goal is to replace hate with resilience, education, and genuine connection.
AIR, which P4P bills as the world’s first antisemitism helpline, builds on the organization’s existing public health approach and helpline model. It offers free, confidential support from trained interventionists to worried families, educators, and community members, as well as to people who are trying to step away from anti-Jewish beliefs themselves. P4P is also developing trainings for families, schools, and religious organizations on recognizing early warning signs, navigating online risks, and responding with evidence-based intervention.
The model was tested on the very first call to the AIR helpline in 2016. A mother had found several rifles under her son’s bed, along with a manifesto describing his plan to attack a synagogue. She was terrified and reluctant to contact law enforcement. Churchill stayed on the line and worked to earn the mother’s trust enough that she would call 911. The FBI later confirmed that the guns had been confiscated and that the young man had been hospitalized for treatment of psychosis.
“Courage sometimes means entering the worst moment of someone’s life and not looking away,” Churchill said.
P4P says its early intervention work has since helped prevent potential attacks on synagogues and violence against Jews, and has helped hundreds of people repair relationships, return to school or work, and rebuild lives no longer governed by extremist ideology.
Sagit Sade Attia, a member of the P4P board, described that work as a deliberate moral choice. “Rather than writing off people consumed by hate as beyond redemption, Myrieme has chosen the far more difficult path of engaging directly with individuals and families affected by radicalization, while never losing sight of the needs and safety of those targeted by hate,” she said.
The choice has not always been easy to explain. When Churchill first began describing extremism as an addiction, she recalled, people looked at her as if she had three heads. Public health framing has since moved closer to the mainstream, but an approach that begins with compassion for people who hold antisemitic views can still invite skepticism at a moment when Jewish communities feel under threat. Churchill answers by pointing to outcomes like the hundreds of families supported.
P4P doesn’t do this work alone. It has partnered with the Combat Antisemitism Movement, the ADL, the American Muslim and Multifaith Women’s Empowerment Council, and the Department of Homeland Security, as well as Bangladeshi and other immigrant communities. It has worked with the Harvard School of Public Health and Georgia State University to evaluate its work and to train former extremists as interventionists. Churchill has spoken at Eradicate Hate following the 2018 Tree of Life shooting, briefed Congress as part of a bipartisan effort, and testified before the Massachusetts Special Commission on Combating Antisemitism, where she urged antisemitism trainings in schools. Churchill puts it simply: “Antisemitism is not a Jewish problem alone; it is an all-of-us problem, and everyone pays the price when it spreads.”
The post The 36 Award Winner: Building a Public Health Response to Antisemitism appeared first on The Forward.
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Building the Legal Case Against White Nationalism
David Brody, founder of the Alliance of Jewish Americans, has been named an honorable mention for The 36 Award in its inaugural year. Brody has spent his career in courtrooms and coalitions confronting hate, and he believes Jewish safety in the United States depends on standing with every community that white nationalism targets.
Brody traces his commitment to his family and to the South. “As a Jew from Georgia, my Jewish identity was defined against the backdrop of the Black-Jewish shared struggle in the South,” he said. His great-grandmother fled pogroms, arrived in the United States as an unaccompanied minor with no English or education, and became a union organizer. His father registered voters for the Southern Christian Leadership Conference and spent four decades researching how poverty and discrimination affect the health of rural Black families. “My family taught that being Jewish in America means fighting for social justice,” Brody said.
Before launching the Alliance in 2026, Brody founded and led the Digital Justice Initiative at the Lawyers’ Committee for Civil Rights Under Law, the first tech policy program at a legacy racial justice organization. There, he built the first case applying public accommodations law to online harassment, representing Taylor Dumpson, the first Black woman to serve as student government president at American University, against a neo-Nazi website’s publisher who targeted her. Brody co-led the team representing Metropolitan AME Church in Washington, D.C., in its case against the Proud Boys after the group vandalized the church. He helped draft and championed what became the AI Civil Rights Act of 2025, which more than 80 civil rights, privacy, consumer, and labor groups have endorsed. His nominator, Erin Simpson of the Ford Foundation, said Brody coined the phrase “privacy rights are civil rights” at a time when many did not yet see the connection. She described him as “the engine that powered an entire community of racial justice and technology policy organizations.”
Brody said Jewish civil society is robust but has lacked a dedicated national legal organization, similar to the NAACP Legal Defense Fund or Lambda Legal. The Alliance is meant to fill that gap. It uses open-source investigative techniques to collect and preserve evidence of civil and human rights violations and white nationalist threats, with the goal of making that evidence admissible in court.
From his years litigating against white supremacists, Brody saw that few organizations take on litigation against white nationalism systematically, and that most investigative work in the field produces research reports rather than evidence that can stand up in a legal proceeding. He argues that white nationalism, which has motivated deadly attacks ranging from Pittsburgh’s Tree of Life synagogue in 2018 to a Buffalo grocery store in 2022, poses the greatest threat to Jewish safety in the United States in generations.
The Alliance’s work includes both near-term and longer-term legal investigations. Part of this work involves leveraging AI tools responsibly, such as using them to accelerate needle-in-a-haystack investigations of white nationalist activity or other threats that would not be cost-effective for human researchers. Other work is meant to provide evidentiary foundations for long-term efforts to research, document, and seek accountability for rights violations in the U.S. Brody said he is focused on what the field needs now and what it will need in five years.
Brody’s approach to coalitions is grounded in patience. He spent six years drafting model bills, persuading allies with different priorities, and testifying twice before Congress in support of privacy protections. In 2024, when a bipartisan privacy bill in Congress was stripped of its civil rights protections, Brody gathered signatures from more than 50 organizations on an opposition letter in under 24 hours, and the bill died. “Those groups did not sign because I told them what to do,” he said. “They signed because I spent years working with them, earning their trust, and advocating for their interests.”
Brody credits the courage of his clients for putting their names and faces on high-profile cases against violent white supremacists. He arranges his work so that, by the time a moment of risk arrives, “we have friends at our side.” He resists the idea that this takes a special method. “Building bridges does not require a special approach,” he said. “One should show up for everyone, listen with empathy, and do the work.”
The post Building the Legal Case Against White Nationalism appeared first on The Forward.
