by Wolfgang Kramer and Michael Kiesling
In Kramer and Kiesling's new "Cavum ", the designers offer a new "gamer's game" that reflects the unique sensibilities which have given us games from "Torres" to "Maharaja". As is typical of this team, they present us with a wide ranging menu of choices each turn and enormous freedom to manage our strategies. For some, this freedom lets players fully manage complex strategies, while for others, the freedom only means confusion and headaches. What is especially interesting is how the designers' style is expressed in a new way - disguised but still unmistakably Kramer and Kiesling.
Wolfgang Kramer and Michael Kiesling have been working together as co-designers since 1995, but they came to the attention of many gamers with the release of Tikal and Torres in 1999. In both of these games, players had free form turns in which they could choose from a menu of actions - moving, building, exploring, creating new pawns - each of which required the expenditure of some number of "Action Points" which were limited every turn. Tikal was followed by Java in 2000 and Mexica in 2002, and these games are regarded as a trilogy - for their obvious use of this shared system, for the use of masks on their box cover art, and also for the graphic design used in the games by artist Franz Vohwinkel. Depending on how you felt about these games, the "AP" trilogy either referred to "Action Points" or "Analysis Paralysis" because such freedom could lead players to get stuck managing the details of each game turn.
With some subsequent games such as "Maharaja", "Australia", "Bison", and even "Sunken City", this system got stretched in different directions, but what remained constant was the use of a menu of potential choices confronting players that allows them to manage their turns with great flexibility.
Cavum is a relatively complex tile laying, track building game in which the designers place their stamp in a new way. At the beginning of the "phase", players fill their player mats with the 12 assets shown above. Each represents an action he'll be able to take once. Four of them are ordinary tiles to lay, although each one has a different amount of track (or in this case, "tunnel") One has a piece of track with a big ol' piece of dynamite on it. The three cubes are stations - and these are the only pieces that a player truly owns. They will serve as starting and ending points for paths the player will trace in an effort to claim gems, and they will also block other players' paths. The gray tile with stones on it represents a "vein" which the player may place and "discover" - and will be a source from which all players claim gems. Then there are two wild tiles which may substitute for any of the above, and finally the symbol for prospecting. This will always be the player's last action in the turn, when he traces a path between any two of his stations, crossing through any quantity of tunnels, in an attempt to pass through previously placed veins, and pick up as many gems as possible.
Here is where I think the designers really show their true colors. During a phase, a player is going to engage in all twelve of his actions. However, the phase is broken up into any number of turns. During a player turn, he must select between one and four of his actions to perform before passing his turn. So these twelve actions might be distributed among as many as twelve and as few as three player turns per phase. Each phase always culminates in the prospecting action. So one player might choose to rush with his actions, to ensure that gems are still on the board when it's time to prospect. Another might proceed very slowly, forcing all players to take their actions so that he may use all the resources out there when he finally prospects.
With such flexibility, it is easy to see why this is very much a gamer's game - and one which can succumb to Analysis Paralysis in the wrong hands.
I wonder to what degree Kramer and Kiesling were inspired by Martin Wallace's "Age of Steam", as they seem to have created a sort of negative image of the Wallace classic. In Age of Steam, players are tracing paths with cities as the end points, running through as many towns as possible. In this case, players own the tracks and the cities are public. In Cavum, things are reversed. The paths are public but the end points - the stations - are what is owned by the players. In Age of Steam, goods begin on cities and get removed as they are used. In Cavum, the goods that are removed appear on the veins - which are the equivalent of Age of Steam's "towns".
There is an important consequence of having players share all the "track" in Cavum. They need to be interconnected with lots of junctions so that one player can trace from his stations, through various veins, and back to another of his stations, while another player can use much of the same track, use many of the same veins, but return to his own station. In Age of Steam, where players own each piece of track exclusively, the paths don't interconnect as much and tend to be simpler.
This tangled web is what can make Cavum more than a little brain-burning.
What about that dynamite? Each turn a player must place at least one tile with dynamite on it. It is possible to cover up those pieces with normal tunnels in order to delay their destruction, but at the end of the turn, all exposed dynamite tiles get removed - and also take out all top tiles in the six adjacent spaces. In a four player game, it's possible for 28 tiles to go to heaven! Some have characterized this aspect of the game as very nasty. Incredible as it sounds, I don't think this rule is there especially to add a "take that" element to the game, and in my playing it didn't come off as mean. Rather, the board can get so dense and locked in, I think that the designers put in the dynamite in order to insure that the board continues to change after each phase. The game is not that nasty because once a player has created a path, it is difficult to obstruct that path until after he has collected his gems. The dynamite doesn't blow until the very end of the phase. Additionally, although stations block other players' paths, they can't be played on existing track. Even if someone places a track tile in your way, you may be able to promote it by placing another tile on it - as long as the new tile has more connections. The only way I know of to to mess with an existing path is to promote it with a new tile that changes its connections. Note that unlike Age of Steam, all existing connections do not need to be preserved.
The way that the designers stray from their Action Point menu and instead specify the particular actions a player must allocate during each phase is a very clever way of directing game play. If this game were from the AP trilogy, it is possible that each action would have had its own cost. A simple tile might cost 2 AP, one with all connections might cost 6 AP, tiles with dynamite could have their own cost, as would stations. The game would have been even more free form, perhaps more strategic, and certainly more maddening. Instead, each player gets a series of 2/3/4/6 branch tiles and they all must be used. Any tile may promote any other tile with fewer branches. There becomes a natural flow and strategy to the phase. Try to start out with the simplest tile possible, and as opponents mess with you, hold back the more complex tiles to play on top and rescue yourself. Or else, use your six early on, secure a complex path - but leave yourself vulnerable if another tile you were relying on gets rerouted. I think that with this method, Kramer and Kiesling have struck a nice balance between freedom and structure in their use of an action menu.
Where things seemed to spin out of control was in the paths themselves, which need to be twisty and often difficult to visualize. Indeed, all players tend to be creating paths which all cross over the same terrain, and it seemed difficult to create a master plan that brilliantly snatched lots of gems. Rather, you're more likely to feel like an idiot if you don't get lots of gems. I suspect that experienced players will learn to visualize the board better, make more strategic use of stations, and reduce the apparent chaos. But in my playing, understanding the board was a little like tracking a single strand of spaghetti as it winds its way around the meatballs.
If the game were just about laying tunnels and grabbing gems, it wouldn't be a Kramer / Kiesling game. On top of all this, there is a modest economic system to value the gems that you do get. At the beginning of each phase, you can take order tiles. It's exactly what you think. Taking the one pictured is a commitment to acquire and trade a light blue, a dark blue, a green and a red for 26 points. Fail to do so, and you lose 2 points. The risks aren't great, but neither are the rewards because you can still sell gems back to the market - potentially doing even better. In the example here, eight of the yellow gems are either still on the board or in people's hands. A reverse auction is held starting at "8" and going down, and the lowest bidding player could sell as many yellow gems as he owns at his bid price. So there are two ways to collect points for your gems, and which is better will depend on how many players own a given color and how aggressive the bidding gets.
The ability to sell gems either to the market or by completing orders struck some of us in our session as a little odd. It watered down the tension. If players must complete orders, then a player has pressure to get the right combination, knowing that not getting the last gem is a big loss of potential points. Such high stakes would provide a natural bomb in the game as it does in Alan Moon's Ticket to Ride. Alternately, forcing players into the market would have created a more economically oriented games in which players must monitor which gems are valuable, jockey for those, and close opponents out of them. By providing both alternatives, players are most likely to go for orders - but relax knowing that the market provides something of a safety net if plans go awry. Perhaps the "all or nothing" game created too much chaos, but this is so obviously a gamer's game, it is surprising to see it made a little more family friendly. I'd love to speak with the designers to learn what they were thinking.
I enjoy path laying games and I especially enjoy the complexity that Kramer and Kiesling bring to their best gamer's games. Given the history of such games, I am not convinced that paths laid by Cavum make the most satisfying use of the choices the genre has to offer. The use of actions in the menu in which players may order and group their 12 actions in any way they like - seems to have enormous potential and I hope to see it in a future game. The actual tile and path creation seemed overly involved and counterintuitive. I look forward to future playings to see if I'm able to wrap my brain around this game, or whether the game proves to be the stronger and wraps itself around me.