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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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A Message From the Torah for 2026: Live Now in a Way You’ll Be Proud of Later
A Torah scroll. Photo: RabbiSacks.org.
I have always cherished Ludwig van Beethoven’s last words, spoken on his deathbed: “Plaudite, amici, comedia finita est.” “Applaud, my friends, the comedy is over.”
This kind of blunt honesty only comes from people facing their final moments. The masks drop, the posturing stops, and what’s left is pure truth.
Steve Jobs was diagnosed with terminal cancer in October 2003. Remarkably, he lived for another eight years, during which he became deeply reflective, increasingly conscious of his legacy and of life’s meaning in ways he had never been before.
In the address he gave at the Stanford commencement in 2005, he told the graduating class and their families, “You can’t connect the dots looking forward — you can only connect them looking backward.”
He didn’t say it explicitly, but his words came from a deep awareness of his own mortality. The message was clear. He was looking back on his life, taking stock, and seeing patterns that only become clear near the end. When death feels real, clarity follows.
Jobs also talked to the Stanford students about his failure, about being fired from the company he started, and about death itself. Looking back, his speech feels less like a graduation talk and more like a final message. It wasn’t about money or material things, but about meaning. Some things in life matter. Others don’t. Some things are just noise. Others have real substance.
History is full of moments like this, when great figures, as their lives are coming to a close, suddenly see what really matters. Near the end of his life, Thomas Jefferson wrote to his beloved daughter, Martha Jefferson Randolph, “The last pang of life is in parting from you!”
What worried him most about death wasn’t losing power or fame, but the pain of being without those he loved. When all is said and done, relationships with our loved ones are what really matter, and our career or achievements pale into insignificance by comparison.
Sir Isaac Newton expressed something similar, though in a different way, as he looked back on his incredible life. Newton, whose discoveries changed how we see the universe, spoke with great humility: “I do not know what I may seem to the world — but as to myself, I seem to have been only like a boy playing on the seashore, and diverting myself now and then in finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.”
Even after a lifetime of achievement, he didn’t focus on his success. Instead, he saw clearly how much was still unknown, and how even greatness can feel small when you look at life’s bigger picture.
This is the emotional and moral setting at the start of Parshat Vayechi, which holds the Torah’s great final conversation. Jacob is dying, and he knows it. In his last moments, he gathers his children and speaks to them — not as a nostalgic father looking back, but as someone who truly understands who they are and what each one needs to hear.
If we expect deathbed speeches to be warm and fuzzy, Jacob’s version of one will come as a surprise. Some of his words are blessings, but others are more like rebukes. Reuven is reminded he didn’t reach his potential. Shimon and Levi are called out for their violence. Yehuda is elevated to family leadership, but is also reminded that this role comes with responsibility, not privilege.
This isn’t a “feel good” speech. It’s a speech that values truth over comfort. And that’s exactly the lesson of Jacob’s last words: legacy isn’t about saying nice things, but about saying what’s needed. Jacob isn’t focused on how his sons feel right now. He cares about who they will become after he’s gone, and how his words will echo through their lives and future generations.
Which brings us to today’s world, where we tend to focus more on our image while we’re alive and often don’t think about how we’ll be remembered. Social media in particular has taught us to always project an image that’s curated and perfect in the here and now, with no thought about the long term impact.
Everything is about appearances and how things are seen in the moment. We tell our own stories as they happen, believing that if we control how things look, we can control the outcome.
Vayechi breaks that illusion. Jacob reveals something uncomfortable: you can’t write your own legacy. He is brutally honest with his sons, and in doing so, he also faces his own role as a father. He doesn’t hide the truth. He points out their patterns, their tendencies, their choices — not to shame them, but to help them see both their strengths and weaknesses, take responsibility, and grow into the best version of themselves.
Vayechi is honest, but it is not hopeless. Yaakov doesn’t say, “This is who you are, and you can’t change.” He says, “This is who you have been — now choose what to do with it.” Steve Jobs ended his Stanford speech with the famous line, “Stay hungry. Stay foolish.”
But the line before is even more telling. He called death “life’s change agent,” the force that clears away what doesn’t matter to make room for what does. The message is clear: it’s better to let that kind of clarity shape our lives now, instead of waiting until the end.
Vayechi teaches this lesson. When we reflect honestly, death doesn’t make life smaller — it makes it sharper. It removes pretense and leaves us with what really matters. Seeing our lives from a distance can be cleansing. The key is to live that way now, so we won’t need to revise it later.
It’s an idea that finds a moving expression in Viktor Frankl’s Man’s Search for Meaning. Frankl describes a woman who was his patient reflecting on her life, a life that was shaped by suffering and sacrifice as she cared for a severely disabled son.
Viewing her life as if from its end, she concludes — through tears — that it was not a failure. On the contrary, it was filled with meaning. The pain had turned her life into one of love and responsibility.
Frankl’s point is devastatingly simple: when life is seen through the lens of its conclusion, meaning often emerges where none had been visible before.
Steve Jobs was right: you can only connect the dots of a life by looking back. But Parshat Vayechi shows us we don’t have to wait until the end to start that process. Jacob connects the dots for his sons while he’s still alive — but more importantly, while they all still have many years to live.
The challenge he gives us is simple: live now in a way that will make sense later, when we look back. Because when the full story is told, the dots will connect, whether we like the picture or not. The only thing we really control is how we choose to draw them from the start.
The author is a rabbi in Beverly Hills, California.
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Israel Cannot Outsource Its Survival
Israel’s Iron Dome anti-missile system intercepts rockets launched from the Gaza Strip, as seen from Sderot, Israel May 13, 2023 Photo: REUTERS/Ammar Awad
Israel’s security doctrine has been shaped by a harsh but undeniable reality: hesitation invites criticism, but delay can invite catastrophe.
This is not a posture of arrogance or defiance; it is an expression of responsibility toward all of Israel’s citizens. For Israel, the cost of miscalculation is not theoretical, it is measured in lives. From its founding, Israel has faced existential threats that no other modern democracy has had to confront so consistently or so closely.
Surrounded by hostile actors, terrorist organizations, and regimes that openly question its right to exist, Israel has learned that survival depends on clarity, preparedness, and the willingness to act when necessary, even when such actions are unpopular internationally. Waiting for consensus or permission has historically proven to be something that could endanger Israel’s very existence.
This does not mean Israel rejects peace. On the contrary, Israel has repeatedly demonstrated a willingness to pursue peace where peace is genuinely possible, and cooperation where cooperation enhances security. Peace treaties with former adversaries, regional partnerships, and humanitarian initiatives all testify to Israel’s desire for stability and coexistence. But peace cannot be built on unenforceable promises or blind faith in actors who have repeatedly violated agreements and norms.
Israel will not gamble its existence on assurances that cannot be guaranteed or enforced. Sovereignty, in this context, is not a symbolic concept or a political slogan. It is the concrete ability to defend oneself when no one else will, or when others cannot act in time. Sovereignty means maintaining independent judgment, operational freedom, and the resolve to protect one’s population under all circumstances.
History has taught the Jewish people an enduring and painful lesson: ultimate responsibility for Jewish survival rests with the Jewish State itself. Centuries of persecution, abandonment, and broken promises culminated in a clear understanding that security outsourced is security endangered. Israel’s independence is not only political; it is moral and existential.
Alliances matter. International partnerships, shared values, and moral clarity play an important role in strengthening Israel’s position and legitimacy. Israel values its allies and understands the importance of cooperation in a complex global environment. But when survival is at stake, alliances cannot replace independent decision-making.
No ally can assume responsibility for Israel’s existence, and none should be expected to.
When Israel acts to protect itself, it often ends up protecting others as well. By confronting extremist ideologies, disrupting terrorist networks, and standing as a frontline defender against radicalization, Israel contributes to global security, even when this reality is uncomfortable or inconvenient for the international community to acknowledge.
In the end, Israel’s guiding principle remains clear: peace where possible, strength where necessary, and sovereignty as the final shield.
History has shown that when Israel defends itself decisively, it not only safeguards its own people but helps prevent greater instability beyond its borders. Whether the world is ready to admit it or not, Israel’s self-defense has often served as a defense of shared values and global security itself.
Sabine Sterk is the CEO of Time To Stand Up For Israel.
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Selective Reporting: How Gaza Aid Vetting Became a Media Narrative
Trucks carrying humanitarian aid and fuel line up at the crossing into the Gaza Strip at the Rafah border on the Egypt side, amid a ceasefire between Israel and Hamas in Gaza, in Rafah, Egypt, October 17, 2025. Photo: REUTERS/Stringer
Embedding operatives in civilian and humanitarian organizations in Gaza to evade detection by Israeli authorities has been a key strategy of Hamas and other terrorist organizations. Israel has consistently worked to prevent well-intentioned humanitarian organizations from being exploited for these purposes.
This past week, Israel demonstrated yet again its persistence in combating terrorism wherever it may exist by suspending the Gaza operations of 37 humanitarian organizations that refused to cooperate with the rules laid out by Israel.
In March 2025, Israel notified every aid organization in the Gaza Strip that they had to complete a re-registration process to be able to continue their operations in January 2026.
The main requirement asked of the organizations was to submit a list of all employees as part of a security screening process. Those who did not complete the process would be unable to continue their operations.
Protecting Aid – Preventing Exploitation
As of January 1, 2026, international NGOs that did not renew their registration will no longer be allowed to operate.
Organizations were notified in March 2025, given nearly ten months to comply, and granted a good-faith extension… pic.twitter.com/U0JqfR8OKF
— Oren Marmorstein (@OrenMarmorstein) December 30, 2025
Many outlets, such as CNN, have framed this as potentially leading to a “humanitarian crisis.” This is despite the total amount of aid from these 37 organizations accounting for only 1% of the total aid entering the Gaza Strip.
Alex Crawford of Sky News claimed that Israel was blocking these organizations “without evidence” that there have been connections to terrorist organizations, calling the groups “respected.”
Israel is blocking some of the world’s most respected aid groups from Gaza, The groups say Israel’s rules to operate are arbitrary and cd endanger lives. Israel insists – without evidence – that they’ve been infiltrated by militants. https://t.co/gMb3i7XUz4
— Alex Crawford (@AlexCrawfordSky) December 30, 2025
But there’s nothing respectable about terrorists infiltrating organizations meant to help civilians in need. More than that, this effort is meant to ensure terrorist organizations do not take control of or subvert humanitarian operations.
Throughout the war, humanitarian organizations have been abused by terrorist organizations.
Doctors Without Borders (MSF), for instance, is one of the organizations whose operations are being suspended in the coming months, after it failed to provide a list of its Gaza employees. But MSF has previous form. In 2024, it was revealed that an employee of MSF was active in Islamic Jihad and another was a sniper in a Hamas unit.
This is your employee, @MSF. A physical therapist by day and terrorist by night.
Fadi Al-Wadiya, who was eliminated by the @IDF 2 days ago, worked both as a physical therapist for Doctors Without Borders and as a prominent terrorist in the PIJ terrorist organization.
Fadi… pic.twitter.com/N1FiO6QgLz
— COGAT (@cogatonline) June 27, 2024
Mosab Abu Toha, a Pulitzer Prize winner exposed by HonestReporting for excusing the abduction of Israeli hostages on October 7, likewise joined the choir online to complain about MSF being suspended in Gaza.
He faces a knowledge gap in understanding that Hamas and other terrorist organizations have embedded themselves in civilian infrastructure, including hospitals. And MSF only operates five out of 220 primary care clinics and medical points in Gaza, as per COGAT.
What country is barring more than 30 humanitarian organizations, including Doctors Without Borders, from operating in Gaza?
As if these aid groups were ever allowed to function freely in the first place. For months, humanitarian organizations have faced blocked access, extreme…— Mosab Abu Toha (@MosabAbuToha) December 31, 2025
Naturally, this context is omitted from international reports on the NGO suspensions, as it does not fit the narrative. It is thus also telling that the media’s focus has been on the 15 percent of organizations not complying with Israel, rather than the 85 percent who are. This would, however, require the media to question why 37 so-called aid organizations are refusing the simple task of providing a list of their employees.
This is not the first time Gaza’s aid system has been highlighted as being vulnerable to — if not outright compromised by — terrorist infiltration. Hamas has systematically embedded members in civilian infrastructure as a way to control resources. As a result, international aid organizations have repeated claims published by Hamas without any scrutiny. These claims have then been uncritically amplified by the media, creating a self-reinforcing cycle in which Hamas’ aid narratives turned into accepted facts.
While terrorist organizations seek to spread false information about the lack of humanitarian aid in the Gaza Strip, the truth remains that 4,200 trucks filled with aid enter Gaza every week, coordinated between Israel and aid organizations that have complied with the rules. Organizations unwilling to comply and provide a list of employees must explain their persistent refusal to meet this basic requirement of transparency.
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.