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Index
Series page
Title page
Copyright page
Dedication
Editors’ Introduction
Series Foreword
Foreword: The Paper Time Machine Goes Electric
I Paper Wars
1 A Game Out of All Proportions: How a Hobby Miniaturized War
2 The History of Wargaming Project
3 The Fundamental Gap between Tabletop Simulation Games and the “Truth”
4 Fleet Admiral : Tracing One Element in the Evolution of a Game Design
5 The Wild Blue Yonder: Representing Air Warfare in Games
6 Historical Aesthetics in Mapmaking
7 The “I” in Team: War and Combat in Tabletop Role-Playing Games
II War Engines
8 War Engines: Wargames as Systems from the Tabletop to the Computer
9 The Engine of Wargaming
10 Design for Effect: The “Common Language” of Advanced Squad Leader
11 Combat Commander : Time to Throw Your Plan Away
12 Empire of the Sun : The Next Evolution of the Card-Driven Game Engine
13 The Paths of Glory Lead but to the Gaming Table
14 A New Kind of History: The Culture of Wargame Scenario Design Communities
III Operations
15 Operations Research, Systems Analysis, and Wargaming: Riding the Cycle of Research
16 The Application of Statistical and Forensics Validation to Simulation Modeling in Wargames
17 Goal-Driven Design and Napoleon’s Triumph
18 Harpoon : An Original Serious Game
19 The Development and Application of the Real-Time Air Power Wargame Simulation Modern Air Power
20 Red vs. Blue
21 Hypergaming
IV The Bleeding Edge
22 Wargaming Futures: Naturalizing the New American Way of War
23 Creating Persian Incursion
24 Modeling the Second Battle of Fallujah
25 Playing with Toy Soldiers: Authenticity and Metagaming in World War I Video Games
26 America’s Army
27 We the Soldiers: Player Complicity and Ethical Gameplay in Call of Duty: Modern Warfare
28 Upending Militarized Masculinity in Spec Ops: The Line
V Systems and Situations
29 Wargames as Writing Systems
30 Playing Defense: Gender, Just War, and Game Design
31 Debord’s Nostalgic Algorithm
32 The Ludic Science Club Crosses the Berezina
33 War Games
34 Troubling the Magic Circle: Miniature War in Iraq
VI The War Room
35 Wargames as an Academic Instrument
36 Lessons from the Hexagon: Wargames and the Military Historian
37 Simulation Literacy: The Case for Wargames in the History Classroom
38 The Amateur Designer: For Fun and Profit
39 Struggling with Deep Play: Utilizing Twilight Struggle for Historical Inquiry
40 Model-Driven Military Wargame Design and Evaluation
VII Irregularities
41 Gaming the Nonkinetic
42 Inhabited Models and Irregular Warfare Games: An Approach to Educational and Analytical Gaming at the US Department of Defense
43 Chess, Go, and Vietnam: Gaming Modern Insurgency
44 Irregular Warfare: The Kobayashi Maru of the Wargaming World
45 A Mighty Fortress Is Our God: When Military Action Meets Religious Strife
46 Cultural Wargaming: Understanding Cross-Cultural Communications Using Wargames
VIII Other Theaters
47 Wargaming (as) Literature
48 Tristram Shandy : Toby and Trim’s Wargames and the Bowling Green
49 Third Reich and The Third Reich
50 How Star Fleet Battles Happened
51 Total Global Domination: Games Workshop and Warhammer 40,000
52 When the Drums Begin to Roll
53 War Re-created: Twentieth-Century War Reenactors and the Private Event
IX Fight the Future
54 War, Mathematics, and Simulation: Drones and (Losing) Control of Battlespace
55 How to Sell Wargames to the Non-Wargamer
56 Wargaming the Cyber Frontier
57 The Unfulfilled Promise of Digital Wargames
58 Civilian Casualties: Shifting Perspective in This War of Mine
59 Practicing a New Wargame
Acknowledgments and Permissions
References
Index
Table 4.1 Hit Table: A prototype table for determining if a Critical Hit translates into the catastrophic loss of a warship due to poor handling of ammunition
Table 15.1 Contacts on Merchant Vessels by Submarines
Table 21.1 Initial situation
Table 21.2 Adding more rows
Table 21.3 More columns
Table 21.4 Dominant row added
Table 21.5 Additional column
Table 21.6 Row adds Envelop West
Table 21.7 All of Iraq’s options
Table 21.8 Invade Beach feint
Table 43.1 A Distant Plain factions and victory conditions
Figure 1.1 Left, pieces in Venturini (1797). Right, pieces in Reisswitz (1824).
Figure 1.2 Wells’s Little Wars and Britains military miniatures.
Figure 1.3 The 1961 hexagonal board of Gettysburg .
Figure 1.4 The first issue of Scruby’s War Game Digest .
Figure 1.5 Medieval miniature wargames.
Figure 1.6 The early computer wargame Computer Bismarck .
Figure 2.1 Period sketch of the Fred Jane Naval Wargame being played in the early twentieth century in Portsmouth, from “The Naval War Game and How It Is Played,” by Angus Sherlock, in volume 27 of the Strand magazine (Curry 2008a).
Figure 2.2 White golf tees indicated a miss, red a hit. Sketch in 1940 edition of the rules by Inga Pratt, Fletcher Pratt’s wife.
Figure 2.3 Contact! , embedded with tactical advice, was the Canadian Army derivative of the Dunn-Kempf rules. This example is from the original rule book and was drawn by Jean Michaud (Curry 2008d).
Figure 3.1 A Most Dangerous Time map.
Figure 5.1 The Wing Leader system depicts air battles from the side. This snapshot illustrates how dive bombing can be represented.
Figure 6.1 An early version of the undermap for Sekigahara .
Figure 6.2 The published game board for Sekigahara .
Figure 6.3 The undermap cartogram for Virgin Queen .
Figure 6.4 The published game board for Virgin Queen .
Figure 6.5 Three details from Operation Dauntless .
Figure 6.6 The game board for Operation Dauntless .
Figure 8.1 Avalon Hill’s Gettysburg (1958).
Figure 8.2 Typical wargame components: Advanced Squad Leader .
Figure 8.3 A game in a magazine: Strategy & Tactics .
Figure 8.4 The War Engine at work: Advanced Squad Leader .
Figure 8.5 Chris Crawford’s Eastern Front (1941) .
Figure 10.1 ASL , “A Breezeless Day”: The hunter becomes the hunted.
Figure 10.2 ASL , “A Breezeless Day”: Scouting out a minefield.
Figure 10.3 ASL , “A Breezeless Day”: Dashing for the exit.
Figure 11.1 The Japanese attack hand.
Figure 11.2 A Combat Commander scenario card, including scenario special rules (SSRs).
Figure 12.1 These are examples of military events. The upper left value is the card’s operations value; this is a measure of time, with 1 being the shortest and 3 being the longest. This value determines the amount of time all forces will have to move on the map. The letters and numbers (e.g., OC:5 EC:7) next to the operations value represent the intelligence value; this is the implication of using the card in a limited or full manner (i.e., as an operation or as an event); the higher the intelligence value on the card, the greater the chance that the enemy will penetrate the information security for the offensive activity. This simulates the various intelligence systems, such as radio traffic analysis, used during the war to divine enemy intentions. Below the graphic and the title used for narrative and historical inspiration is the event information, which sets the parameters for the offensive with regard to command arrangements, logistical support, and other conditions and bonuses derived from the historical event.
Figure 12.2 Empire of the Sun map detail.
Figure 13.1 Paths of Glory map, showing Europe and Near East insert.
Figure 14.1 With patience and a good order of battle, some editors, like the one in Operational Art of War III , promise unlimited creativity.
Figure 14.2 The “Global Conflict 1988” scenario for The Operational Art of War III made every location count for something.
Figure 14.3 Overhaul mods of Total War: Rome II are consistently popular for players.
Figure 16.1 Event outcome perceptions.
Figure 16.2 Submarine master data.
Figure 16.3 Submarine playing pieces showing values used.
Figure 16.4 Submarine patrol list view.
Figure 16.5 Submarine patrol geographic view.
Figure 16.6 AAC and Contact Table calculator.
Figure 16.7 Final production map for Steel Wolves .
Figure 16.8 Mortimer’s Cross : Topology is a key element of the game.
Figure 17.1 Napoleon’s Triumph in play: “The Look” of nineteenth-century battlemaps in game form.
Figure 18.1 Harpoon 3 Basic Display.
Figure 18.2 Harpoon Classic 2002 : Strategic Map hidden.
Figure 18.3 Reimer Editor with Harpoon 3 data. (Note that the editor didn’t have the header text changed from “H2,” which refers to Harpoon II .)
Figure 19.1 Screen shot of the current Modern Air Power scenario in use at the Air Force’s Squadron Officer College.
Figure 19.2 Modern Air Power iPad display.
Figure 22.1 Call of Duty units sold in millions (“Call of Duty Franchise Game Sales Statistics” 2014). Asterisk, games with historical orientation.
Figure 22.2 Call of Duty: Black Ops II : The past and future of war provide a juxtaposition that glorifies the technologies of the RMA.
Figure 24.1 Detail of Phantom Fury game board and pieces.
Figure 25.1 Repulsing a wave of enemies in Toy Soldiers , the interior wall of the toybox visible in the background.
Figure 25.2 Aerial view of toy sets, with one repurposed as a train tunnel.
Figure 28.1 Walker and his men enter Dubai.
Figure 28.2 Walker’s face reflected in the in-game camera monitor for mortar controls.
Figure 28.3 Woman and child victims of white phosphorus mortar attack.
Figure 30.1 RAND Corporation gameplay in Life magazine.
Figure 30.2 Steve Canyon comic strip with crisis gameplay.
Figure 30.3 Female operator of analog computer/coverage machine at RAND.
Figure 30.4 Early prototype for sexual harassment virtual role-playing scenario.
Figure 31.1 Aldo Moro kidnapped by the Red Brigades.
Figure 31.2 Guy Debord, The Game of War .
Figure 31.3 Guy Debord, The Game of War .
Figure 31.4 The Charge of the Light Brigade (1936), Michael Curtiz, director.
Figure 31.5 Visualization of combat relationships for the southern player in Guy Debord’s Game of War , “Explanatory Diagrams, Figure 5” (Becker-Ho and Debord 2007, 33).
Figure 31.6 Visualization of combat relationships for the southern player in Guy Debord’s Game of War , “Explanatory Diagrams, Figure 6” (Becker-Ho and Debord 2007, 34).
Figure 31.7 Visualization of combat relationships for the southern player in Guy Debord’s Game of War , “Turn 22” (Becker-Ho and Debord 2007, 83).
Figure 31.8 Visualization of combat relationships for the southern player in Guy Debord’s Game of War , “Turn 44” (Becker-Ho and Debord 2007, 127).
Figure 32.1 As Clausewitz and the Tsarists close in, Jomini and the Bonapartists make a last doomed attempt to escape across the Berezina.
Figure 33.1 Untitled, from the series Hitler Moves East (1973); 8 × 10 inches; Kodalith.
Figure 33.2 Untitled, from the series Hitler Moves East (1975); 8 × 10 inches; Kodalith.
Figure 33.3 Untitled, from the series Hitler Moves East (1975); 8 × 10 inches; Kodalith.
Figure 33.4 Untitled, from the series Vietnam (2010); 61 × 79 inches; pigment print on paper.
Figure 33.5 Fall of Berlin (2012); 61 × 79 inches; pigment print on paper.
Figure 33.6 Custer’s Last Stand (2012); 61 × 79 inches; pigment print on paper.
Figure 33.7 The Charge of the Scots Greys (2013); 61 × 79 inches; pigment print on paper.
Figure 34.1 Miniature War in Iraq (2010), installation.
Figure 34.2 Miniature War in Iraq (Dice Throw) (2007), video still.
Figure 34.3 Miniature War in Iraq (Confrontation) (2007), video still.
Figure 34.4 Miniature War in Afghanistan (Crossing) (2010), performance.
Figure 34.5 Miniature War in Afghanistan (Toy Soldier) (2010), color photograph mounted on aluminum.
Figure 34.6 Miniature War in Afghanistan (Drone) (2010); performance.
Figure 35.1 Techniques used by different groups to study armed conflict.
Figure 35.2 My MA students learning to play simple published wargames.
Figure 35.3 My BA students being helped to play one of my own wargame designs.
Figure 35.4 British Army officers playing my 1914 mini-game one on one.
Figure 40.1 A partial representation of Blue’s Command structure.
Figure 40.2 Operational Node connectivity description.
Figure 40.3 Modeling tools using different modeling languages applied to wargame design.
Figure 40.4 The multimodeling process for the Nuclear Strategy game.
Figure 40.5 Effects of COAs on game’s objectives.
Figure 42.1 Students collaborate to develop a presentation of recommendations.
Figure 42.2 Students debate their irregular warfare strategy.
Figure 43.1 A playing card from GMT Games’ COIN series board game Andean Abyss , depicting terror and some of its effects in 1990s Colombia.
Figure 43.2 Mapping the social sectors of insurgency: Tupamaro game board by Brian Train.
Figure 43.3 Asymmetrical operations menus and victory conditions from GMT Games’ COIN series board game A Distant Plain .
Figure 43.4 Insurgency, terror, and frenemies in modern Afghanistan: Coalition, Government, Islamist Taliban, and opium-cultivating Warlords in A Distant Plain .
Figure 45.1 Here I Stand opens with the publication of Luther’s ninety-five theses. In this game, the citizens of Brandenburg, Wittenberg, Leipzig, and Nuremberg choose to follow the Protestant faith (shown by flipped control markers on their white side); Protestant troops rise up to protect Brandenburg and Wittenberg.
Figure 45.2 In a screenshot from Sid Meier’s Civilization V , a Celtic Missionary approaches the Ethiopian capital of Addis Ababa. This unit is able to spread its faith into adjacent cities, perhaps establishing Catholicism as a more dominant religion in Addis Ababa than its current Eastern Orthodoxy.
Figure 46.1 Berwick Green map and counters.
Figure 46.2 Berwick Green map and character cards.
Figure 48.1 Toby and Trim take the field. (Engraving: The siege of Namur by Captn. Shandy & Corporal Trim. Tris: Shan. by Henry William Bunbury, 1772; published 1773 by J. Bretherton; British cartoon prints, Library of Congress.)
Figure 48.2 The siege of Namur.
Figure 49.1 “France defends the classic front line of Hex 24s and a second line of defense along the hex 23s. Of the fourteen infantry corps that by this point should be present in the European Theater, at least twelve should cover hexes Q24, P24, O24, N24, M24, L24, Q23, O23, and M23.”
Figure 50.1 Federation Heavy Cruiser ship diagram.
Figure 50.2 Phaser weapon table.
Figure 51.1 A hard-fought battle between the Imperial Fists and Blood Angels at HATE (Hackney Area Games Club), London, UK. These are both space marine armies—not an unusual sight, given the popularity of space marines, though they are on the same side in the “fluff” (i.e., the material that forms the Warhammer 40K background).
Figure 51.2 As well as the tanks, warriors, and terrain that should officially be on the table, it is common to see a rulebook or two opened up for reference, as well as scrap paper to note down army composition, psychic powers, and special abilities.
Figure 51.3 Batch painting a squad of Inquisitorial Henchmen so as to save time, and putting some finishing touches to some Deathwing Terminators.
Figure 53.1 Hiding from the enemy, Battle of the Bulge reenactment, 1995.
Figure 53.2 View of no-man’s-land from a World War I German post; Great War Association (GWA) site, 1997.
Figure 53.3 Troops in the woods, Battle of the Bulge reenactment, 1994.
Figure 56.1 Crisis 2020 counters, front and back.
Figure 58.1 A still image from the game’s trailer. This view appears right after an image of soldiers fighting on the battlefield and is followed by the tagline, “In war not everyone is a soldier.”
Figure 58.2 Looking for supplies in remote locations is an important part of the game. One of them is an abandoned supermarket that is said to be often visited by soldiers.
Figure 58.3 A view of the shelter, where the player characters are living. Here the player manages supplies, taking care of the characters’ needs and crafting items using gathered materials.
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