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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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France, Spain Signal Support to Blacklist Iran’s IRGC as EU Moves Closer Toward Terrorist Designation
Commanders and members of the Islamic Revolutionary Guard Corps meet with Iran’s Supreme Leader Ayatollah Ali Khamenei in Tehran, Iran, Aug. 17, 2023. Photo: Office of the Iranian Supreme Leader/WANA (West Asia News Agency) via REUTERS
The European Union could soon label Iran’s Islamic Revolutionary Guard Corps (IRGC) as a terrorist organization, after France and Spain signaled a shift in support amid mounting international outrage over the Iranian regime’s violent crackdown on anti-government protests and shocking reports of widespread civilian deaths.
As two of the largest EU member states previously to oppose blacklisting the IRGC, France and Spain could tip the balance and pave the way for the designation, as the regime’s brutal suppression of dissent at home and support for terrorist operations abroad continues.
On Wednesday, a day before EU foreign ministers meet in Brussels to discuss the issue, French Foreign Minister Jean-Noel Barrot announced that France will back the move to blacklist the IRGC, saying the repression of peaceful protesters must not go unanswered and praising their courage in the face of what he described as “blind violence.”
“France will support the designation of the Islamic Revolutionary Guard Corps on the European Union’s list of terrorist organizations,” he posted on X.
After reversing its long-standing opposition to the move, France also urged Iran to free detained protesters, halt executions, restore digital access, and permit the UN Human Rights Council to investigate alleged abuses.
Multiple media outlets also reported that the Spanish government is expected to back the EU’s move to blacklist the IRGC, aligning with France in breaking its previous opposition.
The United States, Canada, and Australia have already designated the IRGC as a terrorist organization, while Germany and the Netherlands have repeatedly called on the EU to do the same.
Some European countries, however, have been more cautious, fearing such a move could lead to a complete break in ties with Iran, which could impact negotiations to release citizens held in Iranian prisons.
The EU has already sanctioned the IRGC for human rights abuses but not terrorism.
Labeling the IRGC as a terrorist organization would not only extend existing EU sanctions, including asset freezes, funding bans, and travel restrictions on its members, but also activate additional legal, financial, and diplomatic measures that would severely limit its operations across Europe.
Earlier this week, Italy also reversed its earlier hesitation and signaled support for the measure after new reports exposed the scale of Iran’s brutal crackdown on anti-government protests — a move that sparked diplomatic tensions, with the Iranian Foreign Ministry summoning the Italian ambassador.
According to local media, Iranian authorities warned of the “destructive consequences” of any labeling against the IRGC, calling upon Italian Foreign Minister Antonio Tajani to “correct his ill-considered approaches toward Iran.”
Tajani said the Iranian regime’s bloody crackdown on anti-government protests this month that reportedly killed thousands of people could not be ignored.
“The losses suffered by the civilian population during the protests require a clear response,” Tajani wrote on X. “I will propose, coordinating with other partners, the inclusion of the Revolutionary Guards on the list of terrorist organizations, as well as individual sanctions against those responsible for these heinous acts.”
As international scrutiny over the regime grows, new estimates show that thousands have been killed by Iranian security forces during an unprecedented crackdown on nationwide protests earlier this month, far surpassing previous death tolls.
Two senior Iranian Ministry of Health officials told TIME that as many as 30,000 people could have been killed in the streets of Iran on Jan. 8 and 9 alone.
The Iranian regime has previously reported an official death toll of 3,117. But new evidence suggests the true number is far higher, raising fears among activists and world leaders of crimes against humanity.
The US-based Human Rights Activists News Agency (HRANA), which tracks deaths by name and location, has confirmed 5,858 deaths, including 214 security personnel. Nearly 20,000 potential deaths are still under investigation, and tens of thousands of additional Iranians have been arrested amid the crackdown.
Established after Iran’s 1979 Islamic Revolution, the IRGC wields significant power in the country, controlling large sectors of the economy and armed forces, overseeing Iran’s ballistic missile and nuclear programs, and coordinating closely with the regime’s terrorist proxies in the region.
Unlike the regular armed forces, the IRGC is a parallel military body charged with protecting Iran’s authoritarian regime, ensuring its so-called Islamist revolution is protected within the country and can be exported abroad.
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Petition Calls for US Investigation Into Immigration Status of Daughter of Former Iranian President
Former Iranian President Mohammad Khatami, right, and his daughter, Leila Khatami. Photo: Screenshot
A petition circulating online that has garnered tens of thousands of signatures is calling on US authorities to investigate the immigration status of Leila Khatami, the daughter of former Iranian President Mohammad Khatami, arguing that relatives of senior figures tied to Iran’s ruling establishment should not benefit from life in the United States while Iranians at home face repression.
The petition, launched by an anonymous activist identifying as an “Iranian Patriot,” urges the Department of Homeland Security and Immigration and Customs Enforcement to review Khatami’s residency or visa status and to consider revocation and deportation if any legal grounds exist.
“This is not personal revenge. This is justice,” states the petition, which as of this writing has 84,919 verified signatures. “You cannot chant ‘Death to America’ through your political system while your own family enjoys safety, stability, and prosperity in America.”
Mohammad Khatami served as Iran’s president from 1997 to 2005 and has been described as a reformist figure within the Islamic Republic’s political system. Despite his reformist reputation, however, critics note that the Iranian state remained responsible for widespread human rights abuses at home and support for terrorist proxies abroad during his time in office.
Under Iran’s authoritarian, Islamist system, the Guardian Council, a 12-member body composed of clerics and jurists appointed either directly or indirectly by the supreme leader, bars any candidate from running for office not considered acceptable by the regime.
According to publicly available information cited in the petition, Leila Khatami, born in 1976, has pursued an academic career in the United States and has reportedly worked as a mathematics professor at Union College in New York. The petition argues that her presence in the US exemplifies a broader pattern of children of senior Iranian officials living in Western democracies while ordinary Iranians face repression at home.
Human rights activists have long documented abuses by the Islamic Republic, including the use of torture, suppression of protests, and severe restrictions on political freedoms.
Over the past few weeks, however, the Iranian regime has gone to unprecedented lengths to crush nationwide anti-government protests with a bloody crackdown. More than 30,000 people may have been killed by security forces earlier this month, according to new estimates that far exceed earlier death tolls.
Senior Iranian Ministry of Health officials told TIME that the scale of the killings and executions has overwhelmed the state’s capacity to dispose of the dead, saying that as many as 30,000 people could have been killed in the streets of Iran on Jan. 8 and 9 alone.
Aligned with the Ministry of Health’s new figures, Iran International reported that security forces killed over 36,500 Iranians during the Jan. 8–9 nationwide crackdown, marking the deadliest two-day massacre of protesters in modern history. The news outlet cited newly obtained classified documents, field reports, and accounts from medical staff, witnesses, and victims’ families.
The US-based Human Rights Activists News Agency (HRANA), which tracks deaths by name and location, has confirmed 5,858 deaths, including 214 security personnel. Nearly 20,000 potential deaths are still under investigation, and tens of thousands of additional Iranians have been arrested amid the crackdown.
The Iranian regime has reported an official death toll of 3,117.
The nationwide protests, which began with a shopkeepers’ strike in Tehran on Dec. 28, initially reflected public anger over the soaring cost of living, a deepening economic crisis, and the rial — Iran’s currency — plummeting to record lows amid renewed economic sanctions, with annual inflation only getting worse.
However, the demonstrations quickly swelled into a broader anti-government movement calling for the fall of Supreme Leader Ayatollah Ali Khamenei, Iranian President Masoud Pezeshkian and even a broader collapse of the country’s Islamist, authoritarian system.
The online petition does not allege that Leila Khatami herself has committed crimes in the United States. Instead, it argues that allowing family members of senior Iranian political figures to live in the US undermines accountability and sends the wrong message amid ongoing tensions between Washington and Tehran.
The campaign reflects growing anger within segments of the Iranian diaspora, particularly after the latest protests in Iran were met with deadly force. Activists argue that pressure should extend beyond sanctions on Iranian officials to include scrutiny of their family members living abroad.
The petition also comes on the heels of Emory University terminating Dr. Fatemeh Ardeshir-Larijani, the daughter of Ali Larijani, the secretary of the Supreme National Security Council of Iran. The termination came after US Rep. Buddy Carter (R-GA) argued that her presence posed national security and patient trust concerns.
The US Department of the Treasury this month sanctioned her father for his role in coordinating the Iranian government’s violent crackdown on the protests throughout the country. According to the Treasury, Larijani publicly called on security forces to use force against demonstrators demanding basic rights, and his actions are tied to thousands of deaths and injuries.
The Algemeiner has reached out to the Department of Homeland Security for comment for this story.
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Federal building with murals by Jewish artists at risk of sale, demolition
(JTA) — A federal building in Washington D.C. known for its murals crafted by important Jewish artists is at risk of demolition.
Now, activists are calling on New York City’s Jewish Museum for support to prevent the sale — and possible destruction — of the Wilbur J. Cohen Building.
The Jewish Museum recently concluded a retrospective of one artist whose work appears in the building, Ben Shahn.
In a letter to Jewish Museum leadership, artist-activists asked for support, citing President Donald Trump’s previous destruction of artistic landmarks as a real estate developer in New York City and a broader, nationwide record of preservation failures in the past.
“The United States has a woeful record of respecting, preserving, and restoring its public art, especially compared with older and less wealthy countries,” the letter said. It added, “We’d like to ask you to join in calling for a halt to the sale and destruction of this landmark building and its inspirational art.”
The letter was spearheaded by a trio of Jewish artists — Elise Engler, Joyce Kozloff and Martha Rosler — and currently has more than 300 signatures. Another petition aiming to preserve the building was launched in November, led by a group called the Living New Deal.
The Jewish Museum has expressed sympathy to the cause but not said whether or how it might heed the activists’ calls.
“The Jewish Museum, like all other collecting museums, is deeply committed to the stewardship of art and architecture as part of our shared cultural legacies,” director James Snyder said in a statement.
He added, “We have been attentive to this issue since it emerged, and we stand with other art world leaders, artists, and preservationists in advocating for the protection and preservation of these historic murals, while we also work to advance further strategies to ensure their safekeeping.”
The Cohen Building, which houses staffers from multiple government agencies, is sometimes referred to as the “Sistine Chapel of the New Deal” due to the style and content of the frescoes painted directly onto the walls. Completed in 1940, the building was a project of President Franklin Roosevelt’s economic and social plan known as the New Deal. Artwork for New Deal projects celebrated the working class in a new American style and were made to be accessible to the public.
Jewish artists including Shahn, Philip Guston, and Seymour Fogel contributed murals to the Cohen Building. Sculptures by archaeologist/sculptor Emma Lu Davis, German-American sculptor Henry Kreis and Richmond Barthé, a fixture of the Harlem Renaissance, can also be found throughout the building, which was placed on the National Register of Historic Places in 2007. It is extremely difficult to remove frescoes from the walls they are painted on.
The agency that oversees the U.S. government’s real estate, called the General Services Administration, began selling other federal buildings on its list late last year in a process called “accelerated disposition.” This would permit a quick sale with limited public input.
The Trump administration is in the process of moving staff out of the Cohen building, a requirement for its sale. Should the Cohen building ultimately be sold to a private buyer, there is no guarantee that the artworks will be preserved, the activists say. But the GSA says otherwise.
“As designated by Congress, the Wilbur J. Cohen Federal Building is required to be sold within two years of the building being vacated,” Marianne Copenhaver, a spokeswoman, said in a statement to JTA. “The building is still occupied. GSA has engaged art conservation professionals to evaluate the current condition of the New Deal art and identify any necessary conservation measures.”
The building’s namesake helped write the 1935 Social Security Act and later served as the U.S. Secretary of Health, Education, and Welfare under President Lyndon B. Johnson.
The provision that permits the sale was tacked onto a water bill passed in January 2025. The sale reflects the GSA’s sweeping mandate to cut costs under the Trump administration. One of the officials playing a leading role in that effort is Josh Gruenbaum, a Jewish attorney who was appointed commissioner of the Federal Acquisition Service, the GSA office that makes purchases on behalf of the government. Gruenbaum has been named a senior advisor to Trump’s Board of Peace, and has said he is using his FAS role to counter antisemitism.
The post Federal building with murals by Jewish artists at risk of sale, demolition appeared first on The Forward.