What to Expect from 7th Sea: City of Five Sails

What to Expect from 7th Sea: City of Five Sails

A 7th Sea: City of Five Sails Playtest Article

I’m Max, one of the playtesters on the new 7th Sea: City of Five Sails card game under development from Pine Box Entertainment. Today I’ll provide a partial overview of what you can expect from the upcoming game. 

But first, let me introduce myself, a game player from a rainy ol’ island known to you all as England. I’ve been playing card games for the last 12 years – I started, like most, with Magic: The Gathering and did my time travelling around for Grand Prix and Pro Tour Qualifiers. In 2012, I discovered Android: Netrunner, and the whole game changed, as I discovered LCGs in a big way. Since then, I have played almost all of them in some way, shape, or form. I’ve also done my time with some non-LCG games throughout the years, primarily Pokémon and AEG era L5R. So, don’t be surprised when, for context, I reference various other card games. So, with the boring introductions done and dusted, let’s talk 7th Sea: City of Five Sails, and some of the features you can expect. Please note all mechanics are still in development and you may find changes in the final product.


Approach cards are fundamental to 7th Sea: City of Five Sails for determining initiative for the turn. They also set your starting Panache – the stat that determines how many cards you will draw at the start of the turn. If you are familiar with the Game of Thrones LCG, this is similar to the Plot Deck. Although the effects are less dramatic, Approaches tend to enhance your game plan for the turn rather than define it. 

You’ll be coming to your games armed with 7 of these Approaches selected, forming their own mini-deck. You choose one Approach each turn, and then you’re off to the races (or a deadly back-alley brawl, at the very least)!


You won’t face off against your opponent in some imaginary, theoretical battlefield. Oh no, you’ll duel it out at three locations across the City of Five Sails. These are less like the Deeds in Doomtown, and more like planets in the old Warhammer 40,000 Conquest LCG. 

At each of these locations (The Docks, The Forum, and The Grand Bazaar) you will deal Neutral Cards from the Search Deck (more on that below). Control these locations to earn “Hero Points,” and also use them as the base to launch your noble (or nefarious) plans. 

“Search Deck” (Playtest Term)

The Search Deck really sets 7th Sea: City of Five Sails apart from other games. Between you and your opponent sits a Neutral Search Deck. This deck is fixed, it will be the same for everyone playing the game around the world. During the game you’ll be dealing one card per Location each turn. 

The Search Deck contains events, characters, and attachments for players to lay claim to. Some decks rely on the Search Deck to get their game plan going, whilst some for the most part operate independent of it. All players, however, will need to be aware of what is coming out of it each turn, as it really is full of treasures. Even if you don’t want a particular revealed card, you might just want to stop your opponent from getting their hands on it.   

Skulking and Scheming

The heart and soul of the game takes place in the Skulking and Scheming phase. Here you will tussle with your opponent at each location, with you and your opponent alternating taking actions.

These actions form the core of the game, ranging from challenging your opponent’s characters, playing Risks (action card), and moving your characters around Five Sails in an attempt to dominate the city! The alternating action taking (I go, U go in classic gaming parlance) is core to the game. To reference the short lived Star Wars Destiny game, sequential flow makes the game feel fast and engaging to play. 

Riposte, Parry, Thrust

Combat in 7th Sea is, dare I say it, flippin’ fantastic. You see, every card in your deck has a Riposte, Parry, and Thrust value (RPT from here on out). 

Once you and your opponent are locked in combat, you’ll alternate playing these cards in a deadly, swashbuckling duel. Play a card with 1 Riposte? Deflect a damage, and send it back to your opponent. Parry? Get that damage away from me! Thrust? I’ll take the hit, but I’m slinging some of my own damage back at you. Combat only ends when there is no more damage ‘incoming’ at either player, and some of these combats become epic battles of back-and-forth card play.

Just like the Poker Hand mechanic in Doomtown, this combat system drips with theme. You feel like a Musketeer or a swashbuckler every time. It also makes deckbuilding both fun and challenging. Maybe there is a really powerful card, but its RPT values aren’t great, or there’s a lower powered card but when you’re in combat, its high RPT values allow you to dominate and win the battle. Oh, and yes, some cards have points in each RPT stat, and you get to use all of them when you play them into a duel. 

Concluding Thoughts

Well, I hope you’ve enjoyed this little insight into the game as it currently stands. I’ve not delved too deep into the details, as we’re still thrashing some of them out during playtesting. Hopefully this has let you know some of the things you can expect. At some point, I hope to share with you all more insights about 7th Sea: City of Five Sails’ Factions, along with tips about deckbuilding and general game play strategy. 


A Legacy Reexamined

A Legacy Reexamined

by Robert Campbell with Konstantinos Thoukydidis

After our interview with the current and previous design team, Playtest Lead Robert Campbell spoke to previous design team member Konstantinos Thoukydidis to discuss his design process, favourite cards and more. Known by his online handle of “db0” to many community members, Thoukydidis also provided us with a haul worth of any of Silas Aims’ robberies: a cache of old design diaries considered lost when AEG’s Doomtown articles were taken down. Our thanks to him for his previous design work, the articles, and partaking in this interview.

(The following interview has been lightly edited for clarity)

Q: How did your design process work – did you tend to start from theme or mechanics?

The theme was mostly handled by the story team but a lot of the time they did get ideas from the card names I thought to go with my card designs. Typically, I started from the card design. Quite often that started from me wanting to either cover an existing gameplay hole or provide a new archetype to play with, such as experimental gadgets, grifter tech, or sidekick tech, and so on.

As I was thinking of card ideas at all times, I usually kept a massive document of potential ideas to choose from. As I would implement ideas out of it, I would prioritize new ones from that document as per the needs of the game and its various archetypes.

When addressing overall weaknesses in the game, I tended to be more reactive. It’s not always easy to see problems in the metagame, due to the small scale of playtesting and us leading the published cards by 2 sets or so. So I had to pay a lot of attention to the meta and address potential issues before they started frustrating the community too much. If I waited until a deck archetype dominated to take action, it would take too long to fix without nerfs. I believe it’s primarily this aspect that allowed us to avoid any bans during my run as lead designer.

When promoting new archetypes, I usually had the concept running in my head and new ideas to fit that archetype would pop-in constantly. However, setting up something new can be quite tricky, as seen by how difficult it was to get experimental gadgets off the ground. My plan there was typically to start with overall useful cards of an archetype, that would work good enough outside it. Then I’d start adding more and more synergies, where a deck built around it could form when a lot of synergistic cards could be added together.

Q: Which card design are you most proud of?

I feel like Yagn’s Mechanical Skeleton (also a sample where story used my card concept without much changes btw) was a very important card as it put gadgets on the map, but also elegant enough in its design to easily slide into most gadget builds while also supporting quite a few possible archetypes (horse tech and gadget dudes to name two).

As simple as this card looks today, it was also something out of a “proof of concept” card for me, as I was hearing a few people in discussions complaining that “gadgets can never be good due to their extra costs over other skills.” I set out to prove them wrong because another way to look at the cost being too high, is that the effect is too weak. So I set out to design a gadget which provides such bang-for-the-buck, that one cannot undervalue its usefulness-to-cost ratio. As it turns out, I managed to strike (imho) precisely the golden balance of gadget-cost/usefulness as I didn’t have to tweak the card almost at all before it went to print.

An interesting point about Yagn’s however, is that it crystalized for me the direction to move for a core aspect of gadgets.

Note: you can link to my design diary for gadgets here if you want.

(EDITORIAL NOTE – this is now archived in one place with other original design diaries. For the gadgets, search for: The philosophy of science )

 Namely, multipurpose; whereas other goods tend to cover one aspect of your gameplan (shootouts, influence, control, etc), gadgets are allowed to do more than 1 thing at once in the same card. Therefore they save you card space in your deck for more versatile cards. Yagn’s handles this like a pro, providing Shootout strength, Shootout defense, Influence, anti-Control, and ‘Tech’ in one card. 

Q: Are there any cards you designed that you feel were underutilized?

Hmm, quite difficult to tell as I’m omniscient so I can’t really know if I’m just not seeing it myself. I want to say I expected Signing Over the Stores would see a lot more play as the benefits it gives out of one card are massive. It has a big risk (Job in the town square) but it also gives massive benefits: 3x “Tutor” effect + cost reduction + unboot on non-defense. It worked amazingly well for me in my playtest builds, but I never saw it hit the table against me. But as I said, maybe I just wasn’t playing in the right meta. A deck built around this and someone like Byrne could be quite brutal.

Q: Are there particular cards or decktypes that were a pleasant or unpleasant surprise to you?

I definitely did not see Spirit Fortress coming! The initial design was that the Totem player would be spreading spirits around, but combining cards like Nicodemus opened a can of worms! Fortunately as far as meta-warping effects go, it was not a disaster like something that caused an unchecked landslide would be, and people could tech against it enough until we could provide more tools to deal with it in later expansions.

I also did not foresee the Showboating becoming such a linchpin card! We did playtest for that exact scenario but we deemed it too weak to base a deck around. How wrong we were!

Q: What are some of your favorite cards you designed and why are you fond if them?

Hmm, I would like to say

  • Calling the Cavalry for making Horse Tech not just viable, but a force to be reckoned with.
  • Morgan Regulators for giving MCC straight up fighting power and for being a card with such a powerful meta effect, that just its existence is enough to scare people out of making non-interactive slide decks.
  • Behold White Bull for walking an extremely fine line with an effect that can be inherently unfun to face, using a stat that is otherwise useless in shootouts, and going through a ton of playtesting arguments, to provide a finisher for an already really difficult-to-design kung-fu Tao.
  • Travis Moone for being the first Grifter and the way I managed to cut through the Gordian Knot that was at the time the two bitter arguments in the design team over having Mulligan at all, or not. To be fair, if I would design TM against today, his ability would not require a boot 🙂
  • And of course, the Fixer who is literally based on a ‘shopped picture of myself at a Heavy Metal concert 😀

Q: What did you enjoy playing for casual matches?

That would totally be my “I Can Dance All Day” deck which I was running since “beta” days. It plays to Doomtown’s strengths by masterfully playing the maneuvering game, but also not being afraid to duke it out at the right moment.

Q: What did you enjoy playing for competitive matches? 

I honestly was not much into competitive matches as there was no scene where I was. The only tournament I played in was the Final  EU Marshall event where I played a near-bicyle deck in a vain attempt to not do to well in the ranking. 

But given my previous experience, I always liked to play unconventional and new decks in tournaments and attempt to disrupt the meta. AKA I could always win with jank, but jank that I trained myself to play to perfection!

Q: Are there any questions/topics you wanted to bring up that didn’t come up from the interview questions?

On Game Design in general:

In case anyone was wondering why I kinda dropped off the face of the earth after AEG cancelled the game: Even though I love the game to death, I was also doing a massive amount of effort when leading DTR design. On top of the aforementioned design duties, I was project-managing the playtest teams, writing articles, crafting the OCTGN client for online gaming (and PT), discussing the game on Facebook (a lot of arguing why Gadgets don’t really suck), and of course, just playing online now and then. It was kinda all-consuming for me for 3 years, so when the game got cancelled, I was so burnt-out that I honestly didn’t even want to think about the game anymore, nevermind play it. I have still not really played a DTR game since that time.

For people who want to get into game design, as rewarding as it is, you need to make sure you’re not overdoing it. Stick to your role and try to get other people to handle other parts.

On new DTR design:

I like the direction the game is going, even though I’m really out of the loop lately. One thing I worry is that I see a lot of the same mistakes we did with the gadgets back in the day, where we were effectively creating slightly better versions of existing goods, with a massive increase in costs (booting, skill check etc). I have not played with the new gadgets of course, but this is just my impression on reading the cards and comparing them with the early gadgets with had like the flamethrower.

on DTR design in general:

When I joined the DTR team, I was not really there to design, so I didn’t have that much input from the get-go. Initially I was there just to provide the playtest client. I kinda took over when other devs dropped out and AEG realized I was decent at it. Unfortunately, because I was not there from the start and we had very little time to adjust the game once I joined, a lot of the rules of DTR stayed the same from the Doomtown Classic. 

I really wished I had pushed further for some things like mulligans and more factionalization. One thing that I don’t like about Doomtown is how you have all those cool dudes in your deck, but in 80% of the game, you’re stuck playing with your starting posse only. Making the faction leaders discount was my last attempt to make them see some play. 

Had I been designing the game from scratch again, I would have really liked to find a way to make more dudes hit the play each game. I also think the economy of DTR is very old school design and it could be significantly streamlined to allow for more card playing and less worrying about Ghost Rock upkeep and so on.

Thanksgiving the First Peoples

Thanksgiving the First Peoples

Pine Box Entertainment maintains a Discord Channel for Doomtown fans to discuss the game. Our players are a lively and diverse group of people. One of our playtesters and online tourney organizers summarized a recent discussion of Indigenous Peoples and their role in Doomtown. He also followed up by interviewing two of the more active participants. We therefore present this article to our larger readership.

(The following has been lightly edited for grammar and clarity.)

* * *


Thanksgiving and The First Peoples in Doomtown
Article and Interviews by Joe James (Prodigy)

Last month there was a fascinating discussion about Indigenous Peoples Day in the Doomtown Discord general chat. The discussion had two main topics: the real history of Thanksgiving and the Indigenous Peoples of the colonial North American Northeast, and the representation of the First Peoples in Doomtown. I learned just how ignorant I was about both topics, and was very moved by the conversation.

To the first topic, I can now say that the history I learned about Thanksgiving as a child was heavily edited to favor the Pilgrims. Most of us know, by now, the terrible things that Christopher Columbus did, and why there is a move to change away from the national day in his namesake, and toward Indigenous Peoples day. It should not have surprised me, then, that there is much of the same whitewashing when it comes to the history of Thanksgiving. Whole books have been written on this, so I won’t get into all the details. Instead I encourage everyone to do just a little research on this topic, so we can help honor the memories, even if just the smallest bit, of the tribes who endured great suffering and loss. 

On the second topic, we discussed the First Peoples in Doomtown. For those not familiar with Doomtown, the game is set in an alternate history in the late 19th century, and the First Peoples are one of the six factions you can play. I was pleasantly surprised when I saw one of the Doomtown players, who has Native American ancestry, make the following quote: “The representation in art and narrative in Doomtown: Reloaded makes me feel seen, and while not everything from it is perfect, most of it resonates with me. That is huge, especially when what I am used to seeing from gaming HURTS me.” 

Again, I shouldn’t be surprised. Anyone who knows the Doomtown community (Pine Box, the former Doomtown: Reloaded team at AEG, and the players alike) knows you cannot find a more genuinely good group of people. There are plenty of other game companies out there who have their hearts in the right place, but I wondered why Pine Box had so much success in their portrayal of indigenous peoples in their game, while so many others fell short? Into the conversation stepped someone from Pine Box to help explain.

It is these two individuals I interviewed for this article: Tamsyn Goodnow from the Pine Box team, and a Doomtown player named David Gordon Buresh. I hope this article, and these interviews, help put Thanksgiving more into perspective, showcase some perhaps-unknown successes of the Pine Box team, and also inspire other game designers to do better by the minorities that play their games or have minority portrayals in the games themselves. 

Tamsyn Goodnow

First, can you tell us what you do with Pine Box? What are your roles and responsibilities there, and how long have you been with them?

My two primary focuses at Pine Box are as a layout designer (I handle cards, rulebooks, packaging, Drive Thru Cards print files, etc.) and asset manager (essentially, I try to help keep our digital files in well sorted order so we can retrieve things easily). But on top of that, I also work on the flavor and art teams for Doomtown: naming cards, writing flavor text, selecting art, etc. 

I’ve actually been with Pine Box from day one! As an active member of the fan community, I was more than thrilled to join the team when we had the opportunity to continue Doomtown. Imagine, getting to continue a game that I first was acquainted with in elementary school. So surreal! 

What is your connection and/or personal experience with the indigenous peoples of North America?

My family history is very European through and through as one side has a lot of Scottish background abd tge other side rooted in the Chesapeake Bay and Appalachia for centuries with folks from all over). I’m from the Appalachia region of North Carolina that isn’t all too far from the Eastern Band of Cherokee. Although I’ve never lived there, my parents met while working for the outdoor drama Unto These Hills that the tribe had been performing for decades. 

So I grew up visiting there every now and then, and it made a big impact on me. In school by and large, the indigenous peoples of North Carolina are treated in the past tense like they’re nothing but historical fact. Seeing the local signage written in the Cherokee syllabary, visiting their cultural center and museum, all those things really opened my eyes to the disconnect between the lived reality still going on today, and the way American culture writ large doesn’t discuss the first peoples of this continent in a contemporary fashion.

How do those connections and/or experiences, along with other relevant life experiences, help shape your work on the design team?

As I touched on in my previous answer, it really shaped that I need to look past the viewpoint of non-indigenous peoples to try and capture more accurate representation. My eyes were opened in Cherokee, NC simply by listening to and respecting the perspective I encountered there. So if I’m naming a first peoples character, I try to come up with that character’s background, give them identity and specificity: are they Hopi? Navajo? Choctaw? What language and naming conventions would be predominant in their culture? Are they from the local area the game is exploring, or visiting from another part of the continent? 

To do that, a large part of what I do is go to the best sources possible for that information, such as websites provided by the Navajo Nation. And there are so many languages still being spoken just within the US today! You can find great resources put together by folks who actually speak these languages, who practice these naming conventions. Who practice them today, not just centuries ago! So a lot of what I’m really trying to do is what I did when visiting Cherokee: listen, acknowledge, and respect. 

I think most people would agree that having diversity among any team, whether its a design team of a card game, or a whole company itself, is something that should be sought after – both for the representation of different groups, as well as the rich ideas and experiences that can help shape and grow a successful team or company (among plenty of other reasons). However, with small companies like Pine Box, there is only so much room for diversity. What is your advice for other game designers, or teams of any kind, to mimic the success Pine Box has had so far? 

That really is such a difficult hurdle with a small team! But I go back to what I was just saying above: research, and listen. Those are key. Don’t just go on your assumptions you already have. Seek out the voices you need to represent, and truly listen to what they’re saying. 

I also find it useful to think about how I want to be respected and understood when it comes to where I’m from and who I am. So while my life experiences as a queer woman from Appalachia are of their own unique perspectives, I can take how I want people to respect my views on those lived experiences, and try to give others that same type of respect on theirs. 

And always be ready to learn, because you will make mistakes; to err is human. But if you’ve already built a great foundation of respect, you’ll find it’s much easier to rectify those mistakes! 

Are there any areas where Pine Box falls short, or could improve more on?

Just speaking about my own processes and what I bring to the cards, I’ve been reflecting on how I want to use the backgrounds I create for these characters to expand folks’ understanding of the richness and diversity of the various peoples, cultures, and nations of this continent, but with a game that’s set in the late 19th century, is most of our audience still operating under the assumption that this is all history? Am I helping make that leap to understanding that these cultures, peoples, and nations are still here today? I mean, so many Americans still think the Mayans just vanished! So I feel like I’m still struggling to really make that connection for most folks to look up from the game, and want to take a look at things today. It feels very elusive. 

Do you have any other thoughts you’d like to share with the readers on this Thanksgiving Day article?

If, like myself, you’re not from an indigenous culture and are interested in learning more about the complicated legacy (to put it mildly) around this holiday, and gaining a more well rounded understanding of the perspectives of various indigenous governments, peoples, and people today, I’d highly recommend as a starting point that you look up what nation(s) and/or culture(s) are most local to where you live. See what perspectives you can find from their online resources about how they mark the day. Try to look for publications by those nations and their people, and learn from those perspectives. 

David Gordon Buresh

Tell us a little about yourself: Where are you from and what is your ancestry? What sorts of games have you played, and what are a few of your favorites?

My name is David Gordon Buresh. I am a writer, game designer, and game design consultant. I am from Vermont, which is where my mother’s family comes from. My maternal grandfather was St. Francis Sokoki Abenaki and my maternal grandmother was from the Sault Ste Marie tribe of the Chippewa people. I was raised as part of the Cowasuck Band of the Pennacook-Abenaki, and I have ties to the Nulhegan Band of the Abenaki. So, in short, I am a mixed race Native American person, living in New England with a whole lot of passing privilege. As a writer, I review games for the Cardboard Republic, Thus I have an extensive background in playing games, and have since I was a young child. For favorites, I am partial to Final Fantasy 6, Cribbage, and Legend of the Five Rings, though that last one is definitely a complicated relationship.

When did you start playing Doomtown, and what drew you into the game?

I FIRST started playing Doomtown back during its first run, in the late1990’s. I did not stick with it, as I did not have a community for it and it did not hook me as tightly as L5R. When Doomtown: Reloaded came out, I tried it a couple times for a review, which was positive. It was not until L5R went on hiatus in 2015 due to its sale to Fantasy Flight Games that I started playing it regularly at my friendly local game shop (shout out to Pandemonium Games in Boston). What drew me into the game was the strategy of placement, movement, and building a board. What truly surprised and delighted me was how Native American characters were depicted in the art of this game, something that is still not very common in the gaming hobby at large.

Can you talk a little about your perspective of the First Peoples in Doomtown (flavor, mechanics, artwork – anything you wish)? What are some things Pine Box got right, and what are some things they could improve on?

To explain my perspective first, I am a mixed race Native American living in New England, far from the area depicted by this game and not related to the peoples shown in this game. That being said, it was amazing that my first impression of the First Peoples showed them as a people with English names. Chief Stephen Seven-Eagles is named Stephen. That’s huge. You have Marcia Ridge (whom I saw as being, like me, mixed race Native American) and Butch Deuces alongside characters named Black Elk and Bloody Teeth. And then you have Jackson Trouble, which is a name that is both Native American (Trouble) and English. The first impression of any game is always going to be names and art, and Doomtown: Reloaded gets it right. Mechanically, I like how the First Peoples are focused around strong Influence, and are just good at holding their territory. This resonates massively with the push in indigenous communities to reclaim what has been taken from us by colonization, and to establish our own place which is indisputably ours. Seeing Geronimo as a Shaman, also, was an awesome correct choice made by Pine Box.

For what Pine Box can improve on, this is a lot harder of a question. From a Native American perspective, I would be interested to see more Native American characters in groups who are not First Peoples, and possibly show them even tapping into mystical options which are not Shaman. As my Aunt puts it, my tribe, the Abenaki, became Catholic in the 1600’s because the Jesuits showed up with wool; if all you had was buckskin to keep out a New England winter, you’d convert for wool too.

As a white male of European descent, I was completely unaware (but not surprised) of the problematic nature of indigenous peoples representation when it comes to games, be it board games, card games, or roleplaying games, just to name a few. Without calling out specific games or companies, what are some examples of things they’ve gotten wrong?

Hoo, this is an expansive topic, and one which I really do not have space here to go into. Honestly, start with almost any other game set in the Wild West, especially miniatures games. You can even look at some older versions of Doomtown and Deadlands. If you want specific to Native Americans, many games depict them as either A) magical, B) dead, C) dressed in buckskins and feathers, or D) some combination of the above. But you don’t have to just limit it there. Indigenous-coded monsters and non-humans are so commonplace in fantasy that it is genuinely easier to identify the games where monsters and non-humans are not inherently “tribal”, “savage”, or “primitive”. Colonialism is so hard-baked into the adventure formula that it really is inescapable.

What advice do you have for design teams and game companies who wish to do better by their players who have historically been overlooked or misrepresented?

As I said earlier, I can only speak to my own experience. However, the first and most important step is including these people in your creative process. Include them early, solicit their feedback, listen to their feedback, and pay them for their work. Hire sensitivity consultants who come from the communities and groups you wish to depict in your game.

Do you have any other thoughts to share for this Thanksgiving Day article? 

As a Native American who lives in New England, our history of Thanksgiving is very different than the one most people are told. For many Native Americans in the United States, this is not an uncommon experience. Often, our stories are told to us by others who are not part of us, and many of these stories are structured in a way where we are a footnote to our own history. So, to anyone else reading this article, I would like to leave you with the three statements we rally behind in the United American Indians of New England, which should always be the starting point for any depictions of Native Americans in your stories.

We are not vanishing.
We are not conquered.
We are as strong as ever.

Fear and Grifting in Doomtown – Welcome to Deadwood Spoilers

Fear and Grifting in Doomtown – Welcome to Deadwood Spoilers

by Derek McConnell (LastWalter)

I’ve been tracking spoilers for Doomtown since 2018, starting with the upcoming release (at the time) of Too Tough to Die, and here we are three sets later. Last time, in Hell’s Coming With Me I got my own card to spoil, Tawodi, but this time they’ve given me a whole article and I’ve got some great cards to share with you folks.

This ain’t my first rodeo

Grifters used to be popular and nearly omnipresent throughout decks. Nowadays, few of them show up in decks outside Den of Thieves, particularly since the errata to Rico Rodegain. Gone are the days of Travis Moone in every starting gang, as starting dudes have become more compelling and decks have become more consistent. My personal theory is that this is partially because the original cycle of grifters lacked influence. Additionally, most starting posses contained Willa Mae or Henry to catch bullets, along with some dudes with influence plus a designated stud shooter. After all that, it could be hard to find the ghost rock to pay for a grifter while also losing another source of influence. In Welcome to Deadwood however, the new grifters come buffed with the most important stat in the game, along useful start of the game abilities. You’ve seen the rest, now let’s look at the best:

Now that you’ve met Lew, let’s review what he brings to the Fearmongers. Firstly, he is the third Huckster 0 that only costs 3 GR. Lew has an influence advantage over Funtime Freddy, and a bullet advantage over Papa Marias, depending on what you need. Lew’s ‘Grift’ doesn’t demand Freddy’s ‘ultimate sacrifice,’ and allows you to search the top 6 cards of your deck for an abomination or mystical goods to start the game with. Note, however, that Lew must put any unkept cards back on top of the deck in the same order, rather than shuffle. This is not always a bad thing, as it allows you to exert some influence over that all-important initial lowball. If you see a full house or other high-ranking hand, you can break it up by taking a card. Forewarned is forearmed as they say, and Lew’s precognition can help you plan how to spend your initial ghost rock or plan your first day’s actions.

Beyond the corner case of fixing your starting lowball hand, Lew can snag variety of juicy targets. Prior to Welcome to Deadwood, there were 34 abominations for him to hunt, and another 18 non-Unique Mystical goods. Welcome to Deadwood adds three more abominations for Lew to procure, of which we’ve already met the New Varney Nosferatu and I’ll reveal the other two below. Note that our new grifter cannot grab Unique Mystical goods. Items such as Essence of Armitage, Magnum Opus Tenebri, and Stone Idol play well with abominations. By all means pack ‘em in your deck, just realize that Lew cannot find them for you.

You want this stuff, but it’s too rare for Lew to find.

Starting the game with at least one Mystical goods provides good synergy with several recent cards such as Bayou Vermilion Railroad, Vivene Goldsun, and Auntie Sinister hope to leverage an early Mystical goods. Don’t forget about our old friends, The Flying Popescus. This deck can swap out Papa Marias for Lew Esquilin and still use Bayou Vermilion Railroad to play a cheap Mystical goods each turn while impacting your opponent’s deeds. Lew helps ensure that the deck gets off to a good start, and you can add the recently spoiled Bad Beat to add additional economic pressure. Beyond that Lew can set up Abomination decks as well! He probably works best with cheap abominations, because you’re going to be putting them in your starting hand. The 3 value already has a few cheap abominations that we can steal from Anarchists, and Welcome to Deadwood has a new one to add to the mix:


Look at this thing! Paralysis Mark is BACK – well, not quite. However, here is another cheap abomination for Lew to find, and something to recur with cards like Ivor Hawley XP and Soul Cage.

I’ll leave you with the last of Welcome to Deadwood’s three new abominations. 

The Angler only costs 3 with 1 upkeep for a 0 Stud, can call out other 7s (Ambrose Douglas, Diego Linares, and Mariel Lewis all come to mind as potential hunting targets), as well as discarding a card to change his value (and thus his target!). Oh, and the Stone Idol and other value reducing cards let The Angler hook even high value dudes. Keep in mind what starters you are likely to see when building around The Angler, as they are the most likely dudes to be around to bump off.

Yes, it’s a good time to bring fear and loathing to your area. Welcome to Deadwood!

This concludes our Grifter articles for the upcoming Welcome to Deadwood expansion, available for pre-order through your FLGS or Pine Box Entertainment.

Gleaning Weapons for the Law Dogs

Gleaning Weapons for the Law Dogs

by David Avery
(with an introduction by Tamsyn Goodnow)

Our layout designer and graphics-user interface expert, Tamsyn Goodnow, has always had a soft spot for gadgets, and decided to name this card in commemoration of herself and her father. Believe it or not, Goodenough is a variant of Goodnow, and the J comes from her dad’s first name (John). The T is obviously from her own name.

Plus, when coming up with the card name, she discovered John Goodenough is the name of a Nobel-winning chemist and physicist! Her dad has a passion for physics that was passed down to her, so how could she NOT name a mad scientist in honour of her father?


Dr. JT Goodenough joins the high-minded academic inventors who support and assist the Law Dogs. Based on his ability to create weapons we can assume, or at least hope, that he holds a PhD rather a medical doctorate. Likewise, Dr. Goodenough will likely conduct most of his tinkering at the Law Dog’s Arsenal or Fort 51 locations.

Law Dog mad science has always had the vexing problem of what do you do if you don’t draw a gadget weapon in your starting hand. All Law Dog decks in general tend towards aggressiveness, and want weapons with which to enforce the law. If you are based out of the Union’s top-secret weapon test facility at Fort 51, however, gadget weapons are essential to make your deck function. Thus Dr. Goodenough and his ability to jump-start the Law Dog’s weapons programme.

Akin to the Fearmonger’s Funtime Freddy, the good doctor allows you to keep a weapon that you retrieve from your deck. While Dr. Goodenough is an obliging chap, his selections are imperfect, as your opponent has the final say on which weapon you keep and which goes to discard. If you play your cards right, however, the discarded weapon may not have gone far. 

Alas, fetching weapons is a full-time job and Dr. Goodnow ends up booted from exertions. To support Dr Goodenough, you may want to start at least one other mad scientist to invent subsequent weapons in your deck. Quincy Washburne and Dr. Erik Yaple are both good choices. You may want also want to consider Dr. Dayl Burnett if you are trying to invent particularly difficult weapons like Yagn’s Mechanical Skeleton or the Bio-charged Neutraliser

The final mad scientist to consider is Janosz Pratt. Janosz works particularly well with Dr. Goodenough, as Janosz can use his ability to play whichever gadget your opponent discarded at the start of the game. This can leverage two card weapons combos such as Yagn’s Mechanical Skeleton and Hydro-Puncher or the Electrostatic Pump Gun along with a Net Gun. You can also use Doomsday Supply, Technological Exposition, or even a reformed Pete Spence to get back the discarded weapon. 

None of the scientists I’ve mentioned above are great shooters. In fact, they are all draws and only two of them are deputies that take advantage of the ubiquitous Faster on the Draw. Thankfully, the Law Dogs have a variety of good starting shooters. “Thunderboy” Nabbe with a Yagn’s is a terrifying immovable 6 stud. Here is an example deck running out of Fort 51. Just swap Padre Ernesto For Dr. Goodenough and select Hydro-Puncher and Yagn’s for JT at the start of the game if you can. Ideally you want the Yagn’s, but even if your opponent tosses it, the Hydro-Puncher lets you come out swinging. Your primary ways of making dudes wanted are the outfit ability for low influence dudes and Dr. Yaple for anyone with more than a 1 influence.

Another possible shooter is Hattie DeLorre armed with an Electrostatic Pump Gun, who can thus turn even the biggest shooters into quivering zero draws. This deck out of the Law Dogs original outfit uses this tactic to try and strip away all your opponent’s bullets. Again, swap Padre Ernesto for Dr. Goodenough. The deck uses only two weapons, Electrostatic Pump Gun and Net Gun, making Dr. Goodenough’s choices both obvious and useful. It doesn’t really matter which one your opponent selects, because you should plan to use Janosz Pratt to play the other. Faster on the Draw is a key card in this deck as you don’t have any mobile studs. With Nightmare at Noon, however, it may not matter. You can use the gadget weapons, Hattie, and Nightmare to turn the opposing posse into a ragtag band of 0 draws. You have aggressive cheatin’ punishment in Coachwhip and I’m Your Huckleberry, hopefully leaving your opponent in an unwinnable situation. 

Finally, Prodigy used this deck to win the GenghisCon: Agency Badge Event this year. Try swapping Dr. Goodenough in place of Dr. Yaple and use Dr. Goodenough’s ability to retrieve an Electrostatic Pump Gun as well as a Hydro-Puncher. Prodigy explains the deck in detail in the notes, but in summary its main focus is an aggressive shooter using The Arsenal Noon ability to start fights. 

Dr. Goodenough is likely to become staple for post Welcome to Deadwood Law Dogs gadget decks.

Welcome to Deadwood is available for preorder through your FLGS or Pine Box Entertainment here.