The Zenobia Award

Mentor.

Signal boost for a worthy cause: the Zenobia Award.

Rex Brynen is a better writer, speaker and when it comes down to it thinker than I am so I will quote from his announcement:

“Historical board games are enjoyed by people from all walks of life, but their designers are predominately white men. The Zenobia Award hopes to change this by encouraging game submissions by people from marginalized groups. The Zenobia Award is not an ordinary design award. Promising applicants will receive mentorship on their designs from established industry designers, and the winners will receive help navigating the game publication process in addition to a cash prize.”

Daniel Thurot at Space-Biff! is also far more eloquent than I, at his post at https://spacebiff.com/2020/11/22/zenobia/

More details are all here: https://zenobiaaward.org so go and have a look.

I write a lot about my game designs on this blog, less often on politics, and only occasionally on the state of the hobby. But anyone who’s been in it for long soon susses out that just as there are definitely more “outputs” (published games) on certain topics than others, there are also more “inputs” (designers of published games) of a certain category than others – white, male, and older.

This is an observation, and hardly a profound one at that.

I don’t see anything nefarious about this situation. It was well known, Back In The Day, that this was a hobby that was generally indulged in by white, educated males… the Great Dunnigan remarked on this, particularly the gender imbalance, in the pages of SPI-era Strategy and Tactics many times, and often referred to the whole shootin’ match as “the hobby of the overeducated” – which back then largely also meant white and male.

I also don’t see anything particularly praiseworthy about this situation. It is also well known, Now, that many cylinders of this hobby’s engine have run on nostalgia fumes for a very long time, and many players and designers from Back In The Day are still with us, just older. That’s expected – time does march on – but society has marched on too and the audiences, actual and potential, for tabletop games are far different in gender, ethnicity, nationality and cultural outlook from 40 years ago.

I think it’s pretty simple: if you want to see the hobby continue to function, to encourage new ideas and explore different topics, to invite new people and their experiences into the fold, either help to spread the word yourself or consider contributing, either as a member of an underrepresented group or part of a team that includes such. It’s not about the prize (personally, I don’t see why money has to be be involved at all), it’s about the offer of help, advice and mentorship to people who want to become involved… which is something I have tried to extend to everyone who has approached me, as a designer (and in my day job).

If these things are not important to you, or you think they will happen by themselves, or you think that historical board games are not inherently political objects, then carry on as you have – this initiative doesn’t require anything of you, and I am sure you can find someone who will agree with you elsewhere. But I have never had time for self-appointed gatekeepers.

The Game Political

A very good piece on aspects of the current (and not so current) “keep politics out of my games” breast-beating, by Iain McAllister at the blog There Will Be Games.

https://therewillbe.games/articles-essays/7944-the-game-political

+1 for the House of Cards image!

So much of my design work has been and will continue to be overtly political, or at least about politics. And certainly designing a game, any game, is a creative and therefore a personally-political act.

And yes, I think the games themselves are works of art, and as such deep and very telling artifacts of popular culture to boot. And that popular culture that we all swim about in is changing – it’s always changing, but nowadays it is changing in ways that make many of the inhabitants of this niche of a niche of a niche uncomfortable. We must all ask ourselves where we draw our sense of identity from, and what parts of life we overtly tie it to.

The Game Political

Tthegiantbrain Updated July 23, 2020 

‘Don’t get Politics in my game’ goes out the cry. It rings out during debates over diversity, games set in less than savoury periods of history, and ideologies overt and subtle in the world of tabletop games. This voice is getting louder and louder as boardgames shake off the cloak of being a niche hobby and make their tentative way to a more mainstream audience. As the number of people playing boardgames grows, more and more questions are being asked of the creators intent: the message the game is trying to convey. On top of this we are waking up to the idea that maybe diverse genders, sexualties and people of colour should be seen more on front of boxes and behind the scenes at companies. More questions, more probing of the status quo.

Should these concerns be shoved aside for the sake of ‘just playing the game’? Isn’t such criticism fundamental to the growth of any art form? Let’s take a deep breath together, and dive into some murky depths.

Defining the issue

This is a thorny subject, so let’s establish some ground rules. First of all we need to look at what is being said by those who declare ‘Don’t bring politics into my games’ (or words to that effect). Turning for a moment to the Oxford English Dictionary for a definition:

Politics: relating to the ideas or strategies of a particular party or group

Fundamentally we are talking about ideas, and of course people are going to argue about them. Unfortunately a lot of the time what they are arguing for is the status quo, as if politics has never existed in boardgames until this moment.

Since we first started making art the act of creation is one that expresses ideas. Ideas of place, of people, of lived experiences. We cannot separate politics from the act of creation, as one influences the other. From hanging portraits in a gallery to the latest blockbuster, our creative acts are imbued with the ideas, and politics, of their creators.

A foundation for discussion

I think we can agree that Boardgames are a creative endeavour, and I have argued that the creative act by its very nature is political. It therefore follows that boardgames are political.

Why then do we have voices telling us to get politics out of boardgames? My experience of seeing this said generally comes in one of two cases: when a company seeks to include more diverse voices, art, or to represent a particular political point of view more overtly, or when the game is coming in for criticism. It is the latter that really interests me (though we will come back to the former).

Are they art?

We’ve established that boardgames are political due to being a creative act. Are they art? That is a much trickier question to answer with any certainty, so let me answer it from my own perspective so we can move on.

I think we all recognise that individual components of a boardgame can be recognised as art: the illustrations, miniature design, graphic design, writing (both technical and creative). Therefore the whole that is created out of these elements, can also be seen as an art form. Simplistic maybe, but as I said this is my point of view. I think boardgames are art.

Art that is never seen, experienced or consumed, is art without purpose. Art needs interpreted, it should have emotional impact. To me the greatest sin a piece of art can commit is to not move me at all. If I watch a film and my reaction is a shrug of the shoulders and ‘meh’, then it has not done its job. Even films I dislike have provoked a strong reaction at least. Art should provoke a reaction, even if it is just in one person. If it provokes a reaction, it is likely to receive criticism as well.

On the defensive

When something we love comes in for negative feedback, it can feel like an attack. We take it personally. I get that, I’ve been there myself. We rage against the idea that the thing we love is not perfect, and one of the ways that happens is to call foul on the idea of ‘bringing politics into games’. This seems to be especially the case when that criticism is to do with the treatment of different cultures, people of colour, and diverse genders in games.

Curiously you don’t see this happening when Twilight Struggle stood colossus like atop the BGG top 100. Twilight Struggle is a game about a literal political fight (the Cold War). Did anyone shout ‘Keep politics out of my games’ when this happened? No. No they didn’t. How many wargames are there? Think war isn’t political? Where are these angry voices everytime a new wargame hits the market? Silent as the grave. Watergate, a current favourite of mine, has had a rapturous reception across the critical spectrum. I don’t recall seeing a single person saying ‘get politics out of my games’ despite it being about a political scandal. The moment someone says ‘could we please have a non-sexualised female miniature’ or ‘what about representing people of colour in your art’ then it’s all loud hailers and signs.

I think I’ve amply demonstrated that these comments do not come from a place of wanting to get ‘politics’ out of games. It’s about prejudice. White prejudice to be exact. All white people have it, myself included. We are conditioned in a certain way of thinking about other cultures and societies in such a way that we must always ask questions of ourselves and the games we play. I’ve been doing my best to educate myself about the struggles black people have endured, and I recommend the documentaries ‘I am not your Negro’ and ‘13th’ as good places to start. I have also been reading ‘White Fragility’ by Robin DiAngelo and that has given me a lot to think about.

If we want the hobby to grow it must represent all people. I can find myself everywhere in the hobby because I am a white, CIS, straight male. If you are not that, then your representation in the hobby is poor, bordering on non-existent. This is changing, albeit slowly. If you are represented in the hobby, you can use your voice to lift up great examples of inclusive practices, to shout about the designers, artists, developers who do not fall into the norm of the hobby’s demographic. You don’t need to be an influencer or reviewer, every voice helps.

Asking questions of ourselves, being critical of our own choices and actions is paramount. Such a course keeps us honest and stops us slipping into the outright discrimination that is ever prevalent in our culture and the hobby. I hope to do better myself in the future, and where I can will endeavour to highlight voices from a different cultural background to my own, whatever form that culture takes.

A critical moment

As critics start to ask hard questions of the endless colonial themes, the lack of racial & gender diversity both on the front of the box and behind the scenes, we must be accepting of these questions. If we want the hobby to grow and expand, we must listen to diverse voices, for we will only be enriched and strengthened if we do. Now is not the time to be afraid of these questions.

It will be painful, there are choices to be made that may make us feel uncomfortable, but we can make those choices together, as a community. We can choose to lift up a diverse range of voices. We can choose to ignore those who would foster hate and division. We can choose to welcome the whole world to sit round a table with us and chuck some dice. But we must make the choice. We must actively choose these actions. If we do not then boardgames don’t deserve to grow at all.

(By the way, sorry if this piece looks weird – I am trying to use the new editor WordPress is foisting on us all, and it’s not going well!)

Brief Border Wars: shipping at last!

https://www.compassgames.com/brief-border-wars.html

Available and shipping as of today!

Still shows price of $52 so perhaps you can order quickly and save a few dollars too!

As was briefly discussed in the recent interview with John Kranz, I have been mulling over another set of four conflicts… nothing succeeds like a sequel (which is rather idiotically self-referential, now that I think about it).

Interview with Compass Games, 5 June 2020

Getting the Story…

…Right on Wargaming.

A very good piece by Ed McGrady, a long-time colleague of Peter Perla’s at the Centre for Naval Analysis.

Narrative, narrative all is narrative because we are working with humans who respond to stories.

https://warontherocks.com/2019/11/getting-the-story-right-about-wargaming

“At man in purple suit waving axe, one round, FIRE!” – CIVIL POWER now available for pre-order from Conflict Simulations Ltd.

Preliminary cover design by Ray Weiss.

Now it can be told:

CIVIL POWER, one of the first games I designed, will be given a proper publication by Conflict Simulations Ltd.!

Constant Readers and obsessive ludographers will know that this game has already had a couple of editions: in 1996, as the issue game in #294 of Strategist, the newsletter of the Strategy Gaming Society, and more recently from my BTR Games. In both cases they were DTP level products where you had to copy out the counters and mount them on cardboard and cut out – or just stick them to cardboard and cut out – but in either case you had to do a little craft project first.

Conflict Simulations is going to release this as part of their “2140” series, with 140 back-printed counters and nice maps (by Ilya Kudriashov) in a small cardboard  box (about the same size as GDW used to use for the boxed editions of its Series 120 games, if you go back that far in the hobby).

As of today, the game is available for pre-order for $34.99 at:

https://www.consimsltd.com/shop/civil-power

Expected release is Q1 or Q2 of 2020, if’n the crick don’ rise… Meanwhile, here is the ad copy:

“In this critical hour we don’t need love, we need WEAPONS — the newest and best and most efficient weapons we can get our hands on. This is a time of extreme peril. The rising tide is almost on us….” – Raoul Duke

Civil Power is a game from Brian Train which models mass civil disorder, riots, raids, and other violent urban phenomena. One player will take command of the Police/local authorities while the other player takes command of the Mob. The game is asymmetrical in its means, motives and opportunities: the Police player has discipline, firepower and esoteric technology while the Mob player has outrage, numbers and Molotov cocktails. The Police must manage to contain and subdue the crowd through carefully distributed violence: the right amount will suppress or demoralize Mob forces, while too much will cause casualties costing the police victory points. The Mob player is less constrained but is also aware that a riot is a temporary thing.

Scenarios are included for several types of situations: riots (including a five-day Chicago 1968 campaign and a three-player Belfast 1975 scenario); raids (featuring a skirmish by the Berlin Wall); and gang warfare (including the 1992 Los Angeles riots, a Crips-Bloods gang war, and a 1944 Warsaw Uprising scenario). There are enough examples supplied that players will easily be able to design their own scenarios, inspired by the headlines of today and tomorrow.

Brian Train was inspired to design this game after reading “The Police Chief”, a particularly savage article by Hunter S. Thompson writing as “Raoul Duke, Master of Weaponry” about the inadequacy of equipment in the police armory to deal with civil disorder. We hope you, animated by the Spirit of Gonzo, will take the chance to explore his take on modern urban violence.

“When the going gets weird, the weird turn pro.” – Raoul Duke

Civil Power includes:

2 8.5×11 geomorphic square-grid maps of an imaginary urban area
140 double-sided  counters
1 rulebook
Player aids & displays

 

 

Playing the Nazis

http://analoggamestudies.org/2019/09/playing-the-nazis-political-implications-in-analog-wargames

In the new number of the Journal of Analog Game Studies, Giame Alonge writes on the history and recurrent appeal of Nazi roles and symbology in board wargaming.

Giame Alonge is a Professor of Film Studies at the University of Turin, and a lifelong wargamer. He wrote a review of the anthology Zones of Control anthology (Harrigan and Kirschenbaum, eds.), and he and I had a correspondence about the blind spots of wargames about modern and contemporary warfare mentioned in “Chess, Go and Vietnam”, the chapter on insurgency games that Volko Ruhnke and I co-wrote for the anthology.  I’m pleased to see that our discussion has helped inspire him to write this piece.

In it he also invokes Susan Sontag’s excellent essay “Fascinating Fascism”, a connection I’ve often thought about but have never seen someone else mention in connection with wargames. Sontag wrote the essay in 1974, when wargaming was still on its way up but still wrestling with its closet-Nazi problem. I rather doubt Sontag would ever have heard about wargaming at the time but if she had, she would regard it as one more example.

As Alonge points out,  Sontag said, “for fantasy to have depth, it must have detail”. This certainly underlines what I and others have written about that pointless degree of historical intricacy in OOB research , pointless because it misses the point precisely and entirely… that is, the Benno Effect.

On Wargaming by Matt Caffrey, out at last!

 

https://digital-commons.usnwc.edu/newport-papers/43/

At long last On Wargaming, Matt Caffrey’s book on the history and uses of wargaming is out and freely available as a PDF at the above link. Released through the Naval War College. You can also obtain a hard copy version through US government printing offices but I am told that there is a quite small print run.

Here is the list of chapter headings. You can see it’s a comprehensive history of the practice, and you will find it’s quite well written and researched. Matt Caffrey, who created and has been running the annual Connections conference on professional wargaming for over 25 years, has been working on this for a very long time, and it shows up well as a labour of love, devotion and hope.

Go, get your copy!

PART ONE: THE HISTORY OF WARGAMING

The Rise of Modern Wargaming: Prehistory to 1913

Wargaming and the World Wars: 1905–1945

Wargaming in the Cold War: 1946–1989/1991

Wargaming after the Cold War: 1990s–10 September 2001

Post-9/11 Wargaming: 2001–2011 

Wargaming in Transition: 2012–2016 and Beyond

PART TWO: TOWARD MORE EFFECTIVE WARGAMING

The Taxonomy of Wargaming 

The Utility of Wargaming

Wargame Participation

Wargame Practitioners

Leaders and Wargaming

Wargaming and Your Personal Objectives

Conclusions: Toward Peace Gaming

“Paper Computers” at UVic

Think I’ll make this the standard image for posts concerning games and game studies. Until I find a better one.

This fall Jentery Sayers, a professor at the University of Victoria (my alma mater and still favoured hangout, when I have the time and opportunity) will be running a fifth-year English seminar/special topic course on prototyping of tabletop games. His very detailed and ambitious syllabus is at the link below.

https://jentery.github.io/508v4/

The “paper computers” term is a reference to a very good piece by Matt Kirschenbaum from 2009, “War Stories: Board Wargames and (Vast) Procedural Narratives” but the course is not about wargames specifically.

No one reading this is likely to be in a position to take advantage of this interesting offering, least of all me, but it’s nice to see the topic being treated in this way.

 

Off to Consimworld Expo 2018!

Best cut in cinematic history.

So, very early tomorrow we take off for a week and change in Tempe Arizona, to attend Consimworld Expo 2018. This convention gets bigger every year, there will be at least 275 hardcore gamers there this time.

I am taking lots of things with me, to show and/or test with people:

The Brief Border Wars quad:

Four minigames on border conflicts. Uses a development of the system in The Little War. Pretty much done testing but they are fun and short. El Salvador-Honduras 1969, Turkey-Cyprus 1974, China-Vietnam 1979, Israel-Hezbollah 2006.

Thunder out of China:

4-player COIN system for China 1937-41, I got this one to the 50% mark in 2015 but had to stop due to the need to finish off Colonial Twilight. Event Deck needs work as do a few tuneups. This will be a different twist on the COIN system but only slightly; twist of emphasis, not addition of mechanics.

The District Commander quad:

What, am I bringing back the Quadrigame? This is a diceless system of counterinsurgency at the operational level that I have been working on for a few years. Standard rules are rather long but they are “chatty”, the system is pretty simple and there are lots of possible options/ variations on play; each set of module exclusive rules is written as additions and exceptions to the standard rules.

Four modules: Mascara (Algeria 1959); Binh Dinh (Vietnam 1969); Kandahar (Afghanistan 2009); Maracas (imaginary megacity 2019). Modules feature things like population resettlement, airmobility, insurgent logistics, Agent Orange, monsoon rains, Phoenix Program, non-state militias, criminal gangs, insurgent command nodes, informers, sabotage, etc..

Caudillo:

Multi-player game on Latin American power politics, this brings up the tension between cooperation and competition. Not testing but CSW is a good place to try and snag people for multi-player games (3-5).

We Are Coming, Nineveh

Something new, not my design but I am helping on its development and need some playtester input. Designed by two graduate students of Rex Brynen, a Political Science professor at McGill University in Montreal who uses games in his classes a lot. This is their first essay into game design and it’s good enough that Rex and I are helping on its development for commercial publication.

It is an operational-level game of the Iraqi government campaign to liberate the western half of the city of Mosul from the forces of Daesh between 19 February and 9 July 2017. This was one of the largest and most difficult urban operations of the post-WWII era, and marked a major defeat for Daesh and its so-called “Islamic State.”

Area-movement map of west Mosul, including the densely-built Old City where Daesh forces made their last stand. Unit scale is groups of 100 or so Daesh fighters each, or battalion-sized units of the Iraqi Army, Ministry of the Interior, and elite Counter-Terrorism Service (CTS). Time scale is about 2 weeks/turn but this is flexible, and not that important. Blocks for both sides, to maintain uncertainty and the “fog of war.”

Capability cards: Before the operation starts, players choose a number of special capability cards. Gives great replayability.

Also during each turn, event cards can be triggered at any time by either player. Some of these indicate the growing collateral damage done to the city and its people. Others generate tactical vignettes: troops can get lost in the maze of small streets, communications can break down, and commanders can be faced with difficult moral and operational choices.

Victory: Unlike most wargames where there is a single measure for victory or loss, the game assesses three key aspects of the campaign: the speed at which the operation is completed, the casualties suffered by Iraqi government forces, and the collateral damage done to Mosul. One might outperform the historical case, capturing the Old City faster—but at a terrible civilian cost.

Going to be HOT and sunny, every day!

I may post from there, probably not as I will be working off a tablet with a tiny keyboard that is an exercise in patience to use.

Be good to each other while I’m gone.

Podcast: I’m on the Grogcast!

http://grogheads.com/podcast/grogcast-season-6-episode-6-interview-with-brian-train

Brant Guillory et al. have been running the “Grogcast” series of podcasts for a long time now. Last week – Season 6 Episode 6 – it was my turn to be on the show! We ended up talking for nearly an hour and a half about various designs, and indulged in some plain old nostalgia.

I really hate my recorded voice, but if you can get past that pinched pedantic halting delivery and umm, uhh, ahh of mine, maybe you can enjoy it too.