Games are, above all else, forms of storytelling. And in that act of play, we commit ourselves to enacting narratives not entirely of our own design. Kiri Miller, in her article Grove Street Grimm: Grand Theft Auto and Digital Folklore, identifies games as performative folklore, navigable culturally significant experience. Like all folklore, she states, video games can “inculcate values, demonstrate behaviors, and transmit beliefs, thereby creating and perpetuating social formations and actions.” This same process appears mirrored, sometimes grotesquely so, in the processes by which narratives of both peace and conflict appear in media - propaganda and otherwise - in war zones. Appropriate, then, that the recent Gaza Missile Crisis, another event in a long and intractable conflict, should find a board game created in its image.