Tag: wargaming

Operational Map Wargaming

One of the most interesting, and perhaps under-represented, form of recreational wargaming is the operational map wargame.

Photo : Tom Mouat

Originally migrating from the professional space to recreational gaming in the 1970s (thanks to, among others, the efforts of Dr Paddy Griffith) the notion of a wargame that did not involve lovingly painted toy soldiers was something of a radical notion. At about the same time, the Reisswitz Kriegspiel was rediscovered by recreational wargames (thanks to the efforts of Bill Leeson and Arthur Harman among others). At the same time members of the London Wargames Section were increasingly experimenting with the important concept of double blind wargames, especially for the Second World War and later periods. The double blind approach turned out to be essential for any realistic operational wargame.

Somewhat ironically, in the professional space the idea of a double blind wargame involving paper maps fell out of favour starting around the same time. Instead,computer simulation became the norm for a number of decades and adversarial wargaming itself entered something a fallow period until the early 21st century, where an appreciation of the flexibility and (importantly) low cost of manual map wargames became attractive once again. To my mind the sea-change in the acceptance of adversarial professional wargaming is marked by the official publication of the MoD’s first ever official Wargaming Handbook in 2014.

I must mention board wargames in this context. Very similar to operational map wargames in many respects, hex-map and counters board wargames have been highly successful in the recreational space since the 1960s. However, no matter how complicated, elaborate, large, small and/or imaginative these games have been they can usually be differentiated from the Operational Map Game (OMG) in a number ways:

  • They generally represent the terrain of the battlespace using a highly abstracted grid system – hexagons, squares, pre-defined areas or specified ‘points’.
  • They are generally open games – that is all or most of the situation is exposed to both sides in the game. Some game have ‘decoy’ counters, or other attempts to create a small element of ‘fog of war’, but it is rare to find a true double-blind board wargame.
  • They are designed for relatively few participants (two is common, six or more are much less frequent).
  • They are balanced so that any of the players has a chance to ‘win’, in fact rigidly deciding who won or lost in some measured way might be a defining characteristic of the genre.
  • The players implement all the rules and procedures of the game themselves based on often highly detailed written instructions.
  • They operate an ‘I Go – You Go’ (IGYG) structure (like simple boardgames such as draughts, ludo or monopoly).

The Operational Map Game by contrast can be characterised:

  • Real maps. In the original 1970s games the maps were covered in transparent plastic (‘talc’) and units marked on using standard map symbols using chinagraph pencils. At the time this was a close analogy to how real-world military operations were planned (and how operations were conducted in the past, i.e. in the Second World War). In later years the hand-written map marking practice has become replaced by map scale-sized game counters as it was found that most recreational gamers struggle with the discipline of effective physical map-marking.
  • Multiple players, often reflecting real hierarchies of command. OMGs often have multiple levels of command, and teams of players, each team replicating some aspects of a headquarters.
  • Double-blind. OMGs only work properly if they are double-blind – typically the ‘three map’ model. The realistic fog of war created by this method is essential to the conduct of a successful OMG. Naturally with more player teams, the double-blind aspect is extended to knowing what friendly forces are doing as well as adversaries – thus it is common to separate out player teams representing formation on the same side and realistically restricting communication between them.
  • Facilitated by a neutral Control. Often the best OMGs do not need the players to implement the rules at all and adjudication is conducted by one of more Controls. Players then concentrate on thinking about their situations, capabilities and decisions rather than how to implement game abstractions codified in the rules.
  • Simulation rather than ‘winning’. Regular players of OMG tend to be less interested in an absolute sense of winning or losing, but rather on the experience of a challenging and realistic problem-set. In the recreational space these are often themed around real-world historical conflicts and players get interest and enjoyment from measuring their performance against that of their historical prototypes. An added bonus is that realistic asymmetric historical or real-world game scenarios are eminently playable without needing to arbitrary and often unrealistic ‘game balance’.
  • Social interaction. Because it involves teams working together to achieve a common goal, there is a lot of camaraderie among players, as well as respect for their opponents. At the end of OMG there is always a debrief phase where both sides get to chat and see how the wargame went from ’the other side of the hill’. Often these debriefs are entertaining (or even educational) as Control reveals what was really going on.
  • Simultaneous play. In OMG the action in each turn is simultaneous – they do not need to work on an ‘I Go – You Go’ (IGYG) structure because they are closed games and each side not only doesn’t know what the other side are doing, but also do not have to wait while the adversary deliberates on their ‘move’. Unlike the IGYG structure, this enables teams to get inside their opponent’s ‘OODA loop’ and simulates reality where the enemy does not wait for your ‘go’ to finish.

OMG Structure

In its simplest form the classic ‘three room game’ (which is the main structure of OMGs) looks something like this:

The two sides have their own space with maps and a member of the Control team (known as Team Control) facilitating them. In the middle is the Master Map with Control adjudicators (known as Map Control).

Each player team maintains their own map, and updates it based on reports received from Control This might be brought to them by their Team Control, or transmitted via messaging systems from Map Control (or, indeed, a combination of the two).

Player teams submit orders (typically in a brief written form) to Control which then uses them, and the game rules & procedures to update the status and positioning of units on the main map, and create a narrative of events to report back to the player teams.

This basic structure works very well for two sides, and can easily be expanded for more complex operations involving multiple formations on each side. And separate rooms are not an absolute necessity, so long as the teams cannot see the master map and do not overlook or overheard their adversaries. In some of the simplest games placing players seated with their backs to the master map can suffice!

Time

In order to create genuine tension and simulate real-life frictions, the OMG only allows players a fixed amount of time to communication, discussion and to decide on and issue orders. A game with unlimited time for players to decide on their actions quickly comes to a halt and becomes deeply boring for most of the participants. The pace of an OMG has to be fairly finely judged depending on the complexity of the situation and the amount of intercommunication player teams need to do. We have found that 20 minutes is the minimum practical time, and around an hour the maximum. In that time, adjudication must be as rapid as possible and should not take up more than an absolute maximum of about a third of the time allocated to a turn, to give player the best chance of having time to think about their actions, communicate and write their orders.

Communication

In a typical multi-team OMG players communicate between teams to share information and coordinate plans and operations. This can be one of the most challenging and entertaining parts, and in some games the game rules impose limits on how much, or in what form, this communication happens. In an historical period prior to the invention of radio this might be only via written notes. In era where more advanced technology is available teams might use means such as Discord or Zoom to simulate real-world communication.

Orders

Whilst it would be easy for players to simply tell Control what they intend to do the OMG works best with written orders. These are necessarily simplified when compared with the process of writing real-world military orders, but capture the flavour of order writing. We tend to use standard proformas to help players to include all the information Map Control will need to adjudicate and update the master map consistently. Ideally this needs to reflect, even in abstract form, information that is relevent to the context. So in an historical game guide players with options that reflect the operational practice of the period, and avoid anachronism.

Adjudication & Reporting

Speed of adjudication. As mentioned above, map adjudication must be both accurate and speedy. Nothing de-motivates players more than sending in their orders then waiting for an hour of relative inactivity to find out what happed, while the Control team are in huddle elsewhere around the master map apparently enjoying their own private game.

There is a clear balance here between detail and speed – and whatever rules & procedures you use these must be measured against actual in-game processing. A common elephant trap in this regard is the game designer underestimating time needed for their Control team to master a system that seems perfectly easy to the person who designed it. Everything takes longer than you think. If you have allowed, say 10 minutes fr adjudication, your rules and & procedures should be designed to take only five minutes (or even less) to process.

In my experience adapting game systems designed for face to face play (for example from a board wargame) is likely to be inappropriately slow. In most cases it is best to use something specifically designed for OMGs.

Rigid versus free adjudication. There are considerable advantages to having a consistent, codified set of rules & procedures for your game. Not least because it allows multiple Controls to assist with adjudication. However, there are times when ‘free adjudication’ can usefully be used, especially when your Control team includes experienced subject matter experts. Often the abstracted system your used needs to be very granular and situation might arise that are not well represented by the rules. In this case Control can make a judgement on the outcome without reference to any rules. Whilst it is entirely possible to run all the adjudication in this way (with the right control team), and might seem an easy option I do not recommend it as it can be harder to maintain consistency ad is dependent on the credibility and expertise of the Control team.

Black box adjudication. In the standard OMG the adjudication process is entirely in a ‘black box’ in that the players are not given the entirety adjudication rules. We generally give them information on the underlying assumptions in those rules. So we might say “Tanks have an advantage over infantry in open country” but notTanks get +4 in combat resolution when fighting infantry in the open”. Interestingly I have observed that players often ascribe considerable subtlety to the results that might actually not be part of the adjudication process – post-hoc rationalisation being a significant human behavioural trait. “Ah yes, the enemy’s action must have failed because T34 tanks can’t fire their guns to their rear”.

Creating a believable narrative. Whatever system of adjudication you use they primary output is to create a credible narrative of events generated by the game. If players cease their willing suspension of disbelief then Control (or the game system) risks becoming an adversary rather than the other played teams. We teach Team Controls to report in the form of a narrative report describing in general terms the following things:

  • Achievement of their intent (as expressed in their game orders)
  • Status and position of their own units. This might not be completely accurate. However they would very likely know if the unit has taken heavy or light casualties
  • Current Capability of their own units. An assessment of the unit’s ability to do more actions – is it exhausted or can it press on, for example.
  • What they would reasonably know about the enemy their units are facing. In some cases there would be obvious clues – for example if the enemy have tanks then that would be reported. Or if the enemy was using artillery… and so on.

The reports would never be expressed in game-type metrics. So Team Control would never say “7th Battalion has lost 3 strength points and now has a combat factor of 2”. This might instead be expressed as “7th Battalion has taken significant losses and is not confident in its ability to continue the attack

The important thing here is that the players feel they are immersed in the experience of commanding their units in the game. If they don’t believe that the results make sense, or seem arbitrary and inconsistent then this needs to be quickly corrected by Control, ideally by providing more information. Often the problem arises because some vital piece of information has been omitted (“You didn’t tell us that 12th Brigade has run out of supplies! That explains why the attack failed”). Of course errors or omissions by Control can be explained away as ‘fog of war’ or communications breakdowns, but this excuse should not be used too often.

Debriefing & Feedback

Allowing time for a plenary session at the end of the game is essential for creating opportunities for players’ stories to be heard. Quite apart from any simulation aspects, these wargames are, above all, anecdote generators, and player derive much of the pleasure of the experience in recounting that experience.

PHOTO : Tom Mouat

The other aspect of the post-game debrief is giving the players a chance to ‘peep behind the curtain’ and see the master map and get a sense of the actual situation, kept form them for most of the game. Allow this chance to just go and look at the master map.

The other opportunity the post-game debriefing session provides is the opportunity for the game designer and control team to hear player feedback on the game as an experience. This is a place for the organisers to listen to players’ feedback. I always advise that the organisers just listen and take note of what comes up and at all costs avoid becoming defensive when criticism comes up from the players – whether or not you agree or feel their comments are fair. Being defensive isn’t necessary and isn’t a good look for an event that is, after all, fun and about the player experience.

To Summarise…

So, Operational Map Wargaming (OMG) offers a immersive style of play that emphasises a good degree of realism, teamwork, and historical simulation. OMGs are distinguished by their use of real maps, multiple layers of command, and reliance on Control teams for rule adjudication, keeping players focused on strategy. OMGs foster a challenging simulation that minimises the pursuit of winning in favour of creating an authentic experience, often involving real-world scenarios. With a focus on simultaneous, rather than turn-based, play, OMGs allow teams to coordinate and communicate under time constraints, mirroring real-world military pressures. The structured adjudication, communication challenges, and immersive narrative make OMGs a rewarding, (and sometimes educational) experience, blending teamwork, camaraderie with the challenge of operational command.

Playing With Toy Soldiers

As everyone knows, recreational wargaming with toy soldiers (or ‘miniatures’ are they are euphemistically known)has been around for at least a couple of centuries, and arguably much longer.

It has been the rise of Warhammer, created in 1983 by Bryan Ansell, Richard Halliwell, and Rick Priestley, that has gradually brought the practice close and closer to the status of a mainstream recreational activity – and not just one played by socially-awkward pre-teen boys. Film stars and influencers now often openly admit to a fascination with painting and playing with colourful toy soldiers in the now well-developed fantasy setting.

Over a slightly longer period than this, Dungeons & Dragons has similarly come into the light in a huge resurgence both in playing and in public awareness. And again, role playing with toy soldiers is the attraction.

My wargaming with toy soldiers dates back to before D&D and before Warhammer, to the era more influenced by Don Featherstone’s 1962 book “Wargames” and published rule-sets like the Wargame Research Groups’ Ancient Wargames rules. But don’t panic – I don’t intend to go into a tedious nostalgia trip at this point.

There are still many thousands of wargamers who continue to wargame historical subjects outside the Warhammer universe, and in recent years they too have flourished (perhaps there is some synergy between the various tribes of toy soldier fans) – with many hundreds of sets of wargame rules and thousands of different miniatures in metal, resin and plastic on the market. Anyone who likes to play games with toy soldiers can pretty much play in any period in human history (from stone age to the present day) and beyond.

So what?

Every so often I get the toy soldiers out and remind myself of the pleasure they give me. Most of my gaming activity is professionally designing, writing and facilitating serious games on often very serious real-world subjects. This is stimulating and engaging and a love my work. And sometimes it can even be described as ‘fun’ (though we like to call in ‘professionally satisfying’). However, all of this creative designing of games to a specific purpose leaves little room for genuine playfulness.

And so I look for some specific things when I get the toy soldiers out which may be different to some (if perhaps not all) other wargamers.

  1. I’m looking for my toy soldier games to give me the opportunity to create for myself, or myself and my friends, a believable narrative. Like many forms of creative entertainment, the willing suspension of disbelief principle applies here just as much.
  2. If I’m playing an historical game I generally want it to reflect my reading of the history. Wargames that are just themed in an historical period, can possibly be fun, but fundamentally unrealistic and focussed only on generating a ‘fun game’ are what Paddy Griffith (founder of Wargame Developments) used to call ‘mere games’ – that is games that contain no discernable element of historical simulation.
  3. If I’m playing fantasy or science fiction, then I’m looking for internal logic. So many games in these genres lack that internal consistency that they to can also be described as ‘mere games’ – they can be so abstract or random that it is hard to find that important believable narrative.
  4. I want something easy(-ish) to play and which moves on at an entertaining pace. I spent far too long in my early game designing and wargaming life writing and wrestling with over-complex, slow moving game systems in search of ‘total realism’. Of course, as is now well understood, there is a spectrum of playability-realism (recognised officially in the MoD’s Wargaming Handbook, no less!). And for my own recreation, I’d say I’m probably around two-thirds of the way towards the ‘playability’ end of that spectrum. EDIT: As John Salt has just pointed out to me – the trope that playability and realism are in some way mutually exclusive (hence a specturnm) is also often a cover for poor or lazy game design. It is, of course perfectly posisble to have a playable and realisic wargame – and this shold be the aim of every designer of wargames. On reflection I would perhaps suggest that the spectrum perhaps is more one of deciding how much abstraction you are allowing into your game. Finding the correct balance of abstraction and complexity for the purpose of your game is, I suggest, a core element of good game design. Of course you’ll have had to decide what that purpose is, and that is a longer discussion.
  5. Personally I need multi-player games. Two-player adversarial wargames leave me cold. And, when you think about it you can see that creating an interesting narrative is so much easier to do so with other people jointly, which leads me on to…
  6. Ideally I look for a cooperative wargame. Cooperation to achieve a goal is very satisfying, possibly the most satisfying way to enjoy playing with toy soldiers. And there are those who say “…but surely war is all about winning. Adversarial play is essential so you know who won.”. To a degree – but the adversary does not need to be another person – it can be a situation, an AI, a card deck or a scenario. Or the game can be GM’d like a D&D session. So many other ways of playing wargames with toy soldiers than just two players facing each other across a table chess-like. And the growth in cooperative board games is perhaps evidence that I am not alone. Plus I don’t care who won.

My criteria for what I look for in a wargame with toy soldiers are, of course, highly personal. I recommend the reader ask themselves what they really look for in their toy soldier game and are the games they are playing really what gives them joy – or are they left feeling stressed, embarrassed or defeated by complicated, expensive games in which you are always beaten by your more experienced friend.

Elephants

For me the pachyderm in the playroom is painting toy soldiers.

I feel that the toys are just representational markers, so painting them with loving (or even obsessive) accuracy has never been a priority. In my mind there is a toy soldier painting spectrum.

I often describe my painting technique as ‘colouring in’.

One of the things that can be discouraging, especially for newcomers, is the very high quality of toy soldier painting out there as seen in magasines or youtube videos. If you attend a wargames show like Salute in London’s docklands you will see tens of thousands of superbly painted toy soldiers. I usually find the experience dispiriting because I have neither the skill nor the patience to come even close to that standard.

However, do not be downhearted.

Those of us in the Toy Soldier Wargame Liberation Front say “Do not let those amazingly good painters oppress you with their talent and skill! Embrace the spray paint can – armies can be both Red AND Blue!”

Of course it almost goes without saying that for those of you with slightly deeper pockets and an unfulfilled desire for painted armies, ebay is your friend. Never be shamed into thinking you have to paint your own toy soldiers!

As ever, it is the game is the thing – everything else is there to help you enjoy playing and creating entertaining emerging narratives.

Do whatever works for you!