Players actually make progress along them by playing cards, in what is perhaps Luxor‘s most unique feature.
The board in Luxor is made up of a series of individual spaces that loop around the edge and wind down towards the central chamber. Those who simply don’t reach the chamber won’t score at all, but that can be OK if enough points have been collected from other sources along the way. The first and second player to reach these sarcophagi will score significant bonus points, with the other players who reach the chamber later scoring a much more modest amount. Each player controls a party of adventurers (beginning with two and rising to five) who will explore an ancient pyramid, with the aim being to reach the valuable sarcophagi in a central burial chamber. Like most classic board games, the objective of Luxor is to score the most points at the end of the game, and based on my experience, it’s a game that rewards steady and meaningful progress with rushing ahead for the best prizes in a broadly equal manner. There is a decent shot of luck involved, but where chance has an impact on gameplay, it affects all players equally to the extent that no one player should feel that they have been disadvantaged in any way. Luxor is simple to setup, very fast to play and filled with interactions. Whilst it didn’t win, Luxorwas a nominee for the Kritikerpreis in 2018, which means it is a game to be taken very seriously. Games that win this category are usually those that embody what dedicated fans like to see in games – fast turns, clever mechanics and meaningful decisions. There are several categories, with one of the most prestigious being the Kritikerpreis, which broadly means the Critics Choice.
Not everyone has heard of Germany’s Spiele Des Jahre award, but to provide a basic translation of what it is it’s Germany’s way of declaring the best game of a given year.
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