Back in 2005 Reiner Knizia and Kosmos published Beowulf: The Legend, which was a turning point for me in my appreciation of what games can aspire to do. The game represented a legitimate artistic interpretation of the source material (as did Knizia’s previous Lord of the Rings, although in a slightly less striking manner). For the most part, game adaptations of books or other media tend to be what I think of as “touchstone” games, games which serve up visual, textual, or other tidbits from the source but don’t have much of their own creative impetus behind them – Arkham Horror and The Virgin Queen are classic examples. Nothing wrong with this approach in theory, and those games can be enjoyable, but to me they’re limited and uninteresting. Beowulf managed to have it all: a terrific and engaging game which also channels the idea of one-upmanship and show-offy competition that is ever-present in the story (among other things). Likewise, in Lord of the Rings, Knizia manages to get at the themes of persistence and sacrifice. These games are unusual not only because they succeeded so well, but also just because they made a serious attempt. Moby Dick or, The Card Game intrigued me because it also seemed to be trying to make a serious, artistic attempt to adapt a classic (and out-of-copyright) work to the game format.
The first thing to understand about Moby Dick or, The Card Game is that its foundations are much more towards the “popular game” end of the game spectrum (where mechanical familiarity is key – think Munchkin or Ticket to Ride), not the classical hobby games we all love (where the game’s form is essential – in the extreme, think almost anything by Stefan Feld). So it resembles a melding, rummy-type game: you are trying to assemble a tableau of whaling crew that is capable of hanging on and dying last when confronted by the great whale.* For this we need a good mix of crew skills – harpooner, shipkeepers, forecastlepersons, and so on – most of whom have abilities that involve negating the various hazards of hunting whales (except for the few who are cursed, who add a nice little bit of drama to drawing from the deck). To build your crew, you just draw blind from the crew deck or pick up from the discard pile. From time to time you can bribe a crew away from an opponent’s tableau. The currency for doing all these things is whale oil, which you can get from successful hunts and which you never have enough of. After having tried to optimize your crew, you then draw a card from The Sea deck and deal with whatever it throws at you. If that’s a whale, you move to The Hunt deck, with a similar process – draw a card, see if it kills you or if your crew can negate it, then throw dice to try to kill the whale.
The Sea deck, with events drawn from the book, is nicely-drawn. Chapter cards are drawn directly from chapters in the novel, and have some representational and lasting effect (in chapter 113, The Forge, Ahab gets +2 strength and gains the Harpooner ability, but whales also get +1 strength). Others are one-off events, some good and many bad, all with nice drawings and text from the book. Other than sightings of the White Whale, which serve as a countdown clock to the final confrontation, there is no sequencing or flow – cards are just drawn randomly off the deck. Often this approach doesn’t work for me (see Arkham Horror, Betrayal at the House on Hill, Battlestar Galactica) because it just ends up feeling incoherent. With Moby Dick or, the Card Game I think it works though. The cards are focussed, grounded in the original story, and are strongly positive or negative in effect. Because the game doesn’t have that many levers to pull (mainly adding or killing crew, or giving or taking away whale oil) you don’t get crazy effects that just feel random, weird, and possibly irrelevant. Because the events are so focussed primarily on crew survival, for me each pull from the event deck manages to generate that anticipation and fear that you like to have to make the game work. Card pulls that don’t move the game forward in some way seem to be rare, although it is somewhat vulnerable to odd distributions like long uninterrupted runs of chapter cards.
The Whale deck, which covers the hunt and is almost a mini-game unto itself, is similarly nicely-drawn. Players lower their crew into the boats to try to hunt the whale once sighted, harpooning him and then getting close enough to kill him before he kills you with his tail, bite, charge, ancient wisdom, and so on. Crew skill allows you avoid hazards, but getting close to the whale (i.e., successfully harpooning him) makes you more vulnerable just before the kill. There is a small but clever push-your-luck element as several hazards will give you the choice between disengaging or pressing on but losing crew. Being the player who strikes the killing blow has significant bonuses, especially if you are the last one standing when the deed is done. Being on a successful hunt gives you whale oil and a significant advantage in getting more crew – and again, you win the game by being the last one to have surviving crew.
Given that Moby Dick or, the Card Game is at its core a “draw a card, read the text” game, King Post and Andy Kopas have done as much with the form as you could want or expect. The physical design of the game, from the cards to the dice and chips, is tremendous. Illustrations are authentic period and evocative, flavor text is on-point and drawn from the books, and the game effects of events are fairly reliably interesting. While some percentage of the game is to experience the setting, you do regularly make choices which do matter.
Still, if you’re a gaming hobbyist Moby Dick or, The Card Game is not going to do it for you by dint of its compelling gameplay alone. Unlike Beowulf: The Legend or Lord of the Rings, a mechanics-first approach to appreciating the game is not going to be the easy way. For example, if you look at it in isolation the game appears to be primarily about building up a competent set of crew that can handle the vagaries of the sea and killing whales. So why have players primarily draw crew blind from the deck? Why not have a drafting or bidding mechanic that might give them more of a sense of engagement? The answer, of course, is that the book isn’t about the best strategies for recruiting whaling crew. I’m far from a Moby Dick expert, but I can say with some confidence that interviewing techniques are not a theme. What are the themes of Moby Dick, then? Given my non-expert status I asked the internet, and it turns out it’s a bit complicated. It is, after all, a rather long and ambitious book, and a game could no more capture the entirety of it than you could cram all of Les Misérables into a stage musical. But two clear themes the game focuses on are ideas of man vs. nature and fate vs. free will, which I think are good choices. Fate vs. free will is virtually built in to this particular game format, and nicely calibrating the choices the game gives you gives it life. The idea of man vs. nature is well-developed by defining the crew in terms of what characteristics of the whales they fight they can counter. The whales themselves are given a nice mix of both wild (charge, battering ram, bite) and personified (Ancient Wisdom and Unflagging Spirit) abilities. The deathmatch whale hunts can be bloody affairs. Crew members are simultaneously valuable and expendable, with crew death at the hands of the whales and the sea being frequent and often capricious. **
I quite enjoyed Moby Dick or, The Card Game. Unlike Beowulf, Lord of the Rings, or Pax Porfiriana the core game is not so compelling on its own that it can potentially succeed even if you have no interest in what the game is trying to say or what the meaning of Moby Dick is. When you look at the total package, though – as a game inspired by and trying to bring to life a classic American novel – there is quite a lot to like, and its grounding in a more traditional game format makes it accessible to non-hobbyists. While I know a fair amount about Moby Dick, I have never actually read Moby Dick in its entirety (I suspect I am in good company there). Despite the novel’s legendary pacing issues ***, the game has inspired me to try to read it. Can’t ask for more than that.
* – Wow, replace “whaling crew” with “investigators” and “great whale” with “great Cthulhu” and it sounds positively Lovecraftian.
** – Going back to the above thought, it did strike me that if you just gave Moby Dick or, the Card Game a new coat of paint (changing the theme “man vs. nature” to “humans vs. the meaninglessness of existence”, and keeping “fate vs. free will”) it would make a far better Cthulhu game than any other Lovecraftian boardgame that comes to mind. Designers, make a note of it.
*** – It can’t be worse than A Game of Thrones. Can it?