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Lair
Lair
2019 | Card Game, City Building, Racing, Spies / Espionage
Raise your hand if you’ve ever dreamed of being a superhero – fighting crime and saving lives. Great! This game is not about that. Instead, embrace your inner villain as you work to create the greatest evil lair in the world! Dig deep and put your villainy to the test as you command Henchmen to build nefarious rooms and outmaneuver the other villains vying for power in this evil organization.

Lair is a worker placement game in which players are racing to complete the construction of a secret lair for their evil boss, Mr. White. Played over a series of rounds, players select turn order and command henchmen to construct new rooms, collect supplies, interfere with your competitors’ plans, or dig deeper into the volcano in which this lair is housed. The first player to reach the core of the volcano, thus completing the lair, is the winner!

Disclaimer: We were provided a copy of Lair for the purposes of this review. I do not intend to rehash the entire rulebook, but rather provide an overview of the rules and comment on the gameplay. For a more in-depth look at the rules, find the game at your FLGS or directly from the publisher! -L

To setup, place the foundation cards at the top of the table and then place 4 elevator cards in a single line underneath the center-most foundation card, and put the Core card at the bottom of the line. Flip the top elevator card, give each player their components (Player Card, Boss token, and 2 Henchmen tokens), create a room card pool, and you are ready to go! Choose the first player as described in the rule book. To start each round, players will choose turn order. All spaces in the turn order track offer different resources/rewards (collect Work Tokens, claim room cards, etc), so going first each turn might not necessarily be best for your strategy. Once turn order is established, players take turns moving 1 worker (either a Henchmen or Boss), and possibly performing the action of the room card to which they moved. Each move costs 1 Work Token, and is paid to the “bank.” In order to perform a room’s action, you must play your Boss token to that card, and there must be a Henchmen token already in the room. Here’s the catch – if the Henchmen token belongs to an opponent, you pay THEM 1 Work Token (instead of the bank) for having moved into a room that they have claimed. Do you want to use a room action enough to justify giving an opponent another Work Token to be used against you? Or can you rework your strategy to avoid using that action? Play continues in the round as long as players have Work Tokens to spend. Once you run out of actions, or choose to stop, you ‘retire’ and pass until the next round begins. There is an incentive to retiring early, though – the first player to retire in a round is the first player to choose their turn order in the next round. Play continues until one player has reached the final spot on the elevator track, the Core. The game immediately ends, and that player is the victor!

So how does Lair play? In my opinion, it’s a great little game. There is so much strategy involved for such a small game, and that is really what takes it to the next level for me. Let’s start with selecting turn order. In most games, this means vying for first dibs in the next round. In this game, however, each different turn order slot provides different resources/rewards. Depending on your strategy, you may really need that 3rd slot, or even the last one! So going first is not necessarily always the best thing in this game. You have to balance the risk of going later in the round with the reward of your chosen resources. The next strategic part of this game has to do with Henchmen placement. As I stated earlier, in order to use a room’s action, you must move your Boss to that card, and there must already be a Henchmen present. If the Henchmen belongs to an opponent, you pay them instead of the bank. This is vital because Work Tokens are what allow you to take turns, so paying an opponent means giving them a chance for another turn next round. Is it worth rewarding an opponent for use of a room action? On the flip side – can you strategically place your Henchmen to ensure that opponents have to pay you to complete their goals? The Boss may be in charge, but the Henchmen are the underdogs in this game for sure.

Components. The components are pretty good quality in this game. The cards are nice and thick, the art is thematic, and the wooden and cardboard tokens are sturdy. No complaints there. The only qualm that we had with Lair has to do with iconography. Every possible action has a corresponding symbol, and that is what is shown on the card. The downside is that there are so many symbols and icons, so there is a bit of a learning curve when it comes to playing Lair for the first time. To alleviate some of the confusion, the game comes with some nice reference cards, and the symbols do get easier to recognize with more plays. But just be warned: at first you may be a little confused with all of the symbology.

As you can see by our ratings, we kind of had mixed feelings about this one. For a game that seems so small and light, it actually has a lot of bulk to it. Between strategic choices and learning symbology, this might not be a game we can just pull out for a quick filler, but I think that it’s good enough to stand on its own. Sometimes physically smaller games can be overlooked, but don’t let the size fool you – Lair packs a punch. Purple Phoenix Games gives Lair a nefarious 12 / 18.
  
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Ian Anderson recommended Swingin' Machine by Mose Allison in Music (curated)

 
Swingin' Machine by Mose Allison
Swingin' Machine by Mose Allison
1963 | Jazz
(0 Ratings)
Album Favorite

"Many of our generation of white, British, middle-class musicians who went to art college all knew about Mose Allison from ‘Parchman Farm’ and one or two other songs in the early Sixties that had been done by British R&B bands. So I knew a little bit about him but I suppose like many people, assumed he was a black guy. He turned out to be a Mississippi white guy with pasty legs and an obvious understanding of jazz and its traditions. He did most of his work in a piano trio with a bass player and a drummer, and he sang in this very laconic and down-home way. I wouldn’t say his songs never touched on romantic lyrics but they were often about stuff. About real life – that’s what gave him credibility and a high level of authenticity, because you knew this wasn’t a guy making it up, this was a guy who had lived the things he sang about. I, like many people of my generation, was struck by his work. The Who recorded at least one of his songs. I expect today there are a few younger musicians who will know about Mose Allison in the same way they will know about Roy Harper."

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Joe Elliott recommended Sheer Heart Attack by Queen in Music (curated)

 
Sheer Heart Attack by Queen
Sheer Heart Attack by Queen
1974 | Metal
8.5 (2 Ratings)
Album Favorite

"This is where I came in with Queen — somehow I missed the first two albums. Our bass player always looks at me like I’ve got three heads when I say, “no, I never saw Seven Seas Of Rhye on Top of the Pops. I must have been out playing football that particular week. But when I first heard Killer Queen I thought, “wow, this is different. You could tell they were rock band, but you could also tell they were much more than a rock band. It had elements of vaudeville, which is fantastic to be able to bring on board, and when I heard the album there was even more things, like Bring Back That Leroy Brown, but at the same time you had things like Brighton Rock hammering away but with Freddie Mercury sing away in this weird falsetto that sounded like Sparks. It’s an amazing record. Now I’m Here is still one of the best rock songs ever written. It was very varied, very Queen in the sense of setting a standard that they then had to follow. It wasn’t like an AC/DC record where you get 10 songs that are very similar. This could have been four different bands on one record, with four different personalities making the music."

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Complete Greatest Hits by The Cars
Complete Greatest Hits by The Cars
2002 | Rock
6.0 (1 Ratings)
Album Favorite

Just What I Needed by The Cars

(0 Ratings)

Track

"This song was a whole other cool factor for me. There was something so cool about it - the sound of it, the synthesiser and what he was singing about. It made such an impression on me, and I’m in love with Benjamin Orr’s vocal performance, it’s incredible. “A lot of these songs are based on vocal performances and guys that I idolise as having a vocal quality, but I also loved the guitar solo. It was the first solo I ever learned to play and it’s a pretty bitchin’, advanced, badass solo. It’s one of the best, so I was pretty stoked about it, but don’t ask me to play it today! I also learnt a bunch of Squeeze solos, Glenn Tilbrook and Chris Difford are two more of my favourites and the solo on ""Pulling Mussels (from the Shell)” is unbelievable. “With “Just What I Needed” it’s the solo because I’m a guitar player, the sound of it because I’m an engineer and producer and the lyrics because I’m a songwriter. People who aren’t musicians might be surprised by these songs, but they’ve had a big effect on me. I picked these songs based on being pivotal and this was one of those songs for many reasons. I’m still trying to write that song."

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Pete Wareham recommended Girl Loves Me by David Bowie in Music (curated)

 
Girl Loves Me by David Bowie
Girl Loves Me by David Bowie
(0 Ratings)
Album Favorite

"I didn't get into him at all for ages. For years and years I just thought, what is all the fuss about?' I just could not get into it. And then one day someone said: ""Have you listened to Hunky Dory?"". I hadn't checked that out at all. I really got into Hunky Dory. I transcribed and analysed nearly all the songs on it. I got into Low, and I quite like 'Heroes', and Scary Monsters. But there's a lot of stuff I don't like. I could probably list 10 Bowie songs that I think are amazing, and the rest of it I'm not too bothered about. I'm really obsessed with him as a character, as an artist. To me he's incredibly impressive and really exciting, his relentless drive to reinvent himself. Probably one of the most inspiring people I can think of. But musically, it's not quite as abundant. That last album: it's quite weird. I was really into Death Grips, he was really into Death Grips, and Kendrick Lamaar as well. It's an album that owes a lot to those guys, but then it's also got a saxophone player on it. This track 'Girl Loves Me', he uses the language from Clockwork Orange. It's just a brilliant idea."

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Jerry Cantrell recommended Led Zeppelin IV by Led Zeppelin in Music (curated)

 
Led Zeppelin IV by Led Zeppelin
Led Zeppelin IV by Led Zeppelin
1971 | Rock
8.0 (1 Ratings)
Album Favorite

"Led Zeppelin, goddamn! I don't think they made a bad record! There's that classic line from Cameron Crowe's movie Fast Times At Ridgemont High where they're cruising around, talking about how to get chicks. And the guy says: ""If you wanna score with a chick, turn out side two of volume four!"" I've used that a few times actually. It works [laughs]! Anyway if it didn't work, it was a nice soundtrack while it was going down. Jimmy Page is another guitar player that means a lot to me. Every member of that fucking band: John Paul Jones was an amazing writer, arranger and producer, as well as Jimmy. Plus John Bonham and Robert Plant... that's one of the greatest rock & roll bands of all times. It's just straight-up, fucking sexy, kick ass and shit, man! All the way from dirty low-down rock & roll to the biggest orchestral tracks like ‘Kashmir’. They travelled a lot of ground while keeping their roots intact, the blues. You know, certain bands really resonate in certain areas and that was one band that was always popular up there where I come from, the Northwest. You have at least ten fucking Zeppelin songs that you can jam with anybody at any time."

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    thegameofthegoose

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