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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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Hiroshima, the 10th Plague, and the Strength to Take Decisive Action Against Evil
509th Composite Group aircraft immediately before their bombing mission of Hiroshima. Photo: Wikipedia
In the late 1980s, when I was a student at Ner Yisrael Yeshiva in Baltimore, I had a close friend who took night classes at Johns Hopkins University. One evening, he came back visibly shaken. That night’s guest speaker had been Paul Tibbets, the pilot who flew the Enola Gay and dropped the atomic bomb on Hiroshima.
My friend told me that Tibbets spoke calmly and deliberately, with the controlled precision of a career military officer. He made no attempt to dramatize what he had done, nor did he flinch from its consequences. Dropping the bomb, he said, was the correct military decision, adding bluntly, “I would do it again.”
His point was straightforward: the atomic bomb ended the war quickly and spared the world a catastrophic invasion of Japan that could have cost hundreds of thousands of American lives and untold numbers of Japanese lives as well.
Tibbets did not deny the human suffering the bomb caused, but he rejected the idea that this suffering made the mission wrong. He expressed no regret about carrying it out. In his view, it saved lives precisely because it brought the war to an immediate end.
At the time, I filed it away as an unusual but interesting historical tidbit. This week, as I walked through the Hiroshima Peace Memorial Museum, the memory of hearing about Tibbets’ talk at Johns Hopkins came roaring back.
The museum is harrowing in ways that are hard to describe. Photographs of survivors, their burned skin hanging from their bodies. Metal objects fused together or melted almost beyond recognition by the heat of the blast. A hauntingly scorched child’s tricycle. A watch frozen at the exact moment the bomb detonated. Photos of victims bearing massive keloid growths years after the war, their bodies grotesquely reshaped by the long reach of that terrible day.
The suffering is overwhelming, graphic, and impossible to ignore. Tens of thousands were killed instantly. Tens of thousands more died from horrific burns in the days that followed, while others from radiation sickness and cancer years later. Most were civilians.
And yet, what struck me almost as powerfully as the horror of what was there was what wasn’t there. There is almost no context. No mention of Japan’s stubborn refusal to surrender. No discussion of the horrific war crimes committed by the Japanese across Asia. No reference to Pearl Harbor, the deadly attack on America launched by Japan in December 1941 without a declaration of war.
In fact, the Americans barely appear at all. It almost feels as if the bomb descended from the heavens – an act of cosmic cruelty, unconnected to history, agency, or responsibility.
To be clear: none of this diminishes the suffering. Nothing could. But the absence of context matters. Because without it, war becomes a morality play with only one role assigned – that of the victim – and no serious questions are asked about how wars actually end, or how they begin in the first place.
And that question is unavoidable in the 21st century: how do we reconcile our horror at the impact of war with the reality that wars sometimes must be ended decisively – because not ending them can be the worse of two evils?
Public attitudes toward the atomic bombings of Japan reveal just how uneasy we have become with that question. In 1945, immediately after Hiroshima and Nagasaki, a Gallup poll found that 85 percent of Americans approved of the decision, with only a small minority disapproving.
By 1990, approval had fallen to 53 percent – but it largely held steady through the early 2000s. A 2015 survey by the Pew Research Center found a clear majority of Americans still saying the bombings were justified.
But over the past decade, something has shifted. A Pew study published last August, marking the 80th anniversary of Hiroshima, shows a public deeply conflicted. Only 35 percent now say the bombings were justified. A full third are unsure. Nearly 70 percent believe nuclear weapons have made the world less safe.
To be fair, that discomfort is understandable. It is also historically naïve.
It is no coincidence that I found myself wrestling with this question in the same week we read Parshat Bo – the Torah portion that confronts this moral dilemma head-on.
The 10th plague to strike ancient Egypt, Makat Bechorot, is unlike anything that comes before it. Until that point, Egypt has endured economic collapse, environmental devastation, disease, and widespread suffering. Pharaoh has been warned, pleaded with, negotiated with. None of it works. He absorbs each blow and refuses to consider surrender.
And then, in a single night – in one devastating, irreversible moment – the war ends. Every firstborn son in Egypt dies. There is not a single home untouched by the plague. Pharaoh summons Moses in panic – he himself is a firstborn and fears for his own life – and in the dead of night the terms of redemption are agreed. By morning, the Israelites are on their way out of Egypt, free and unchallenged.
The Ramban makes an essential point that is often missed: the final plague was not merely punitive. It was decisive. The earlier plagues failed precisely because they were survivable. Pharaoh could absorb the damage, regroup, and convince himself that he could endure one more blow.
The death of the firstborn changed all that. The shock of this final plague was so absolute that Pharaoh could no longer entertain defiance.
Ramban is clear and unsentimental: gradualism is not merciful – it is ineffective. As long as Pharaoh believed Egypt could stagger on, Israel would remain enslaved. Ending the conflict required an act so overwhelming that the very idea of continued resistance collapsed.
The Maharal of Prague goes even further. He explains that Egypt was not merely an enemy nation – it was a corrupt moral system built on dehumanization and cruelty. Incremental punishment could never undo it. Only a shock powerful enough to reorder reality itself could break Egypt’s grip on history and end its cruelty. The 10th plague was not about vengeance. It was about ending Egypt’s capacity to perpetuate evil.
Seen through that lens, Hiroshima looks different – not less tragic, but more intelligible. By the summer of 1945, Japan had lost its navy, its air force, and much of its urban infrastructure. Still, it refused to surrender.
US military planners warned that a ground invasion would lead to catastrophic casualties on both sides, with civilians trapped in the middle for months or even years. The atomic bomb ended the war almost immediately. Like Makat Bechorot, it was horrifying – and precisely for that reason, it worked.
This is not an argument for cruelty. It is an argument against moral theater – against pretending that drawn-out wars fought “humanely” are somehow kinder simply because their brutality is dispersed over time and geography. There is a difference between loving peace and being unwilling to confront the cost of ending war.
The Torah never asks us to celebrate Egyptian suffering. On the contrary, our Seder night rituals deliberately acknowledge it. But the Torah also refuses to sanitize redemption. Freedom did not come through endless diplomacy or moral posturing. It came through decisive, devastating force – after every other avenue had failed.
Standing in Hiroshima, surrounded by reminders of the unimaginable pain caused by the atomic bomb, I felt the full weight of that tension. But on reflection, Paul Tibbets understood something we in the 21st century have grown uncomfortable admitting: grief and justification can coexist. Mourning and moral clarity are not opposites.
Parshat Bo teaches us that sometimes, when evil refuses to let go, we are forced into terrible choices – not because we want to make them, but because there is no other way forward. It is a lesson worth remembering in an age that fears consequences more than it fears the endurance of evil.
The author is a rabbi in Beverly Hills, California.
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Iran: IAEA Must Clarify Stance on June Attacks Before Inspecting Bombed Sites
Mohammad Eslami, head of the Atomic Energy Organization of Iran (AEOI), speaks at the opening of the International Atomic Energy Agency (IAEA) General Conference at the agency’s headquarters in Vienna, Austria, Sept. 15, 2025. Photo: REUTERS/Lisa Leutner
The UN nuclear watchdog must clarify its stance on US and Israeli attacks on Iran‘s nuclear sites last June before inspectors are allowed to visit those facilities, Iranian media on Friday quoted the country’s atomic chief as saying.
Mohammad Eslami said the inspections so far had been limited to undamaged sites and he criticized the watchdog for letting Israeli and US pressure influence its actions.
Eslami made his comments in response to the head of the International Atomic Energy Agency, Rafael Grossi, who said on Tuesday that the standoff over inspections “cannot go on forever.”
Grossi has not explicitly condemned or criticized the attacks nor has he formally outlined a protocol for inspecting the damaged facilities.
Access to sites that were attacked needs “a specific protocol,” Eslami said, adding: “When a military strike occurs and there are environmental risks, it must be defined and a guideline must be designed.”
“The agency has to clarify its position regarding the military attacks on the nuclear facilities that have been registered by the agency and are under its supervision so we can understand what role they play,” state TV quoted Eslami as having told reporters in Tehran on Thursday.
He said Tehran had submitted a statement at the IAEA‘s General Conference last September demanding that attacks on nuclear sites be prohibited. But it was not placed on the agenda and was ignored, he said.
“It is unrealistic, unprofessional, and unfair that, because of pressure from Israel and the US, he [Grossi] is putting pressure on us,” Eslami said.
Grossi told Reuters on Tuesday that the IAEA had inspected all 13 declared nuclear facilities in Iran that were not targeted last June but had been unable to inspect any of the three key sites that were bombed – Natanz, Fordow, and Isfahan.
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Syrian Kurds Hand Over New Prison to Govt Troops as Truce Deadline Looms
Syrian security forces stand guard outside al-Aqtan prison, where some Islamic State detainees are held, in Raqqa, Syria, Jan. 23, 2026. Photo: REUTERS/Karam al-Masri
Syria’s government took over a prison in the north on Friday after the negotiated exit of Kurdish fighters from the facility in what a senior official said was a positive sign that a truce between the two forces could hold.
Government troops have seized swathes of northern and eastern territory in the last two weeks from the Kurdish-led Syrian Democratic Forces in a rapid turn of events that has consolidated President Ahmed al-Sharaa’s rule.
Sharaa’s forces were amassing around a last cluster of Kurdish-held cities in the northeast earlier this week when he abruptly announced a ceasefire, giving the SDF until Saturday night to come up with a plan to integrate with Syria’s army.
The deadline is aimed at pushing through a sweeping deal agreed on Jan. 18 that would see the semi-autonomous institutions run by Kurdish forces in the northeast over the last decade join the central state, something the SDF had resisted over the last year.
The agreement also stipulates that the government would take control of a string of SDF-run prisons and detention camps holding fighters and civilians linked to Islamic State, the ultra-conservative Sunni Islamist group that the SDF fought for years with US backing.
This week, one prison and one detention camp fell to the government after chaotic withdrawals by the SDF, in which some IS-linked individuals briefly escaped. Seeking to avoid a security breach, the government negotiated the pull-out of Kurdish fighters from the al-Aqtan prison in the northern province of Raqqa overnight.
A senior Syrian government official told Reuters on Friday the negotiations over al-Aqtan gave hope that Saturday’s deadline would yield a political solution instead of renewed fighting.
However, he said the government had not yet received a response from the SDF on its integration plan or its candidate for deputy defense minister, a post for which Sharaa had asked the SDF to nominate someone.
MILITARY PREPARATIONS UNDERWAY IN CASE TALKS FAIL
SDF sources said on Friday the deadline for their response could be extended, but the Syrian official said there was no discussion of an extension at this time.
Despite hope for a negotiated resolution, both sides have ramped up military preparations.
Syrian military officials say they are readying forces for a fight and Reuters reporters have seen army vehicles and buses of fighters arriving near the Kurdish-held city of Hasakeh, where Kurdish forces have also reinforced positions.
Senior officials from primary mediator the United States and France, which has also been coordinating ceasefire talks, have urged Sharaa not to send his troops into remaining Kurdish-held areas, diplomatic sources told Reuters.
“We are calling on the Syrian authorities to assume their full responsibility in protecting all civilians, including Kurdish civilians,” French foreign ministry spokesperson Pascal Confavreux said.
The US, which long backed the SDF but now sees Sharaa as its primary partner in Syria, has been helping transfer detained IS fighters from Syria to Iraq.
The SDF withdrew on Tuesday from al-Hol, which along with another camp, Roj, houses 28,000 civilians, mainly women and children who fled Islamic State’s strongholds as the group’s self-proclaimed caliphate collapsed. They include Syrians, Iraqis and 8,500 nationals of other countries.
The UN refugee agency UNHCR was able to access al-Hol camp on Friday with Syrian government officials and established contact with some camp residents, said deputy UN spokesperson Farhan Haq.
“Essential supplies have also resumed. Trucks carrying bread entered the camp today, facilitated by UNHCR following a three-day interruption caused by the volatile security situation inside the camp. In addition, water trucking services organized by UNICEF … were delivered yesterday, helping to partially restore access to basic services for the camp population,” Haq said.
The rapid loss of territory by the SDF in recent days is the most dramatic shift in Syria’s control map since Sharaa’s forces toppled longtime ruler Bashar al-Assad in late 2024.
Sharaa vowed to rule for all Syrians but minorities, including Kurds in the northeast, Druze in the south and Alawites in the west, remain deeply distrustful of him.
In a bid to improve ties, Sharaa issued a decree on Jan. 16 that designates Kurdish as a national language alongside Arabic.