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Showing posts with label design. Show all posts
Showing posts with label design. Show all posts
SPI, THE NEXT WAR (1978)29 comments
THE NEXT WAR is a hypothetical simulation of a Warsaw Pact offensive against NATO forces in Europe in the late 1970’s. THE NEXT WAR was designed by James F. Dunnigan and published by Simulations Publications, Incorporated (SPI) in 1978. THE NEXT WAR is packaged in the large soap box format that SPI reserved, during this period, for its "super-sized" monster games.
HISTORICAL BACKGROUND
Almost from the day that the Nazi High Command formally surrendered to the victorious Allies in 1945, a now politically-partitioned Germany took on a dangerous new role as a key flash point for Cold War tensions between the Eastern Bloc, dominated by the Soviet Union, and the Western Allies, under the leadership of the United States. Inevitably, given their conflicting post-war political goals — particularly as they pertained to Eastern Europe and the Balkans — relations between the western democracies and the Soviet Union steadily deteriorated. Finally, on 24 June 1948, the Soviets blockaded Berlin by closing off all rail and road access to the city in an attempt to gain complete control of the divided former German Capital. The United States, Great Britain, and other members of the British Commonwealth responded with the Berlin Airlift. At its peak, the airlift was delivering over 13,000 tons of fuel and food to the beleaguered city every day. Clearly, the cooperation between East and West that had won the Second World War was at an end. However, one positive, if indirect outcome of the Berlin Airlift was the formation, on 4 April 1949, of the North Atlantic Treaty organization (NATO). Faced with an embarrassing political and military failure, the Soviets finally ended the blockade on 12 May 1949. However, they did not abandon their designs on achieving control of an economically resurgent West Germany.
The Soviets, confronted with a strong and stable military alliance between Western Europe and the United States, reacted in kind; on 14 May 1955, the eight Communist Countries of the Eastern Bloc formed a military alliance of their own, known — because of the site chosen for the treaty’s formal signing — as the Warsaw Pact. Two great hostile military alliances now faced each other, one on each side of the “Iron Curtain.” Given the ongoing belligerence of the Communist leadership in the Kremlin; their ruthless suppression of the peoples of Eastern Europe, and their aggressive political adventurism in Africa and Latin America, the possibility of a Warsaw Pact invasion of Western Europe became, by the late 1950’s, a key feature of NATO planning as the Cold War continued. The two most likely routes for a Soviet mechanized offensive into West Germany were obvious: the North German Plain, and the Fulda Gap. The British Army of the Rhine (BAOR) was entrusted with covering the North German Plain; while the US Vth Corps was assigned the initial defense of the Fulda Gap. If the Soviets attacked without warning, these British and American formations would have to halt the Warsaw Pact offensive long enough for reinforcements from the other NATO countries to move up to the front. Permanently arrayed against these British and American trip-wire units were mechanized divisions from the Soviet, East German, and Polish Armies. The other Warsaw Pact countries, like the supporting NATO members, would be expected to send their own additional front line and reserve units into the battle area, once hostilities actually began.
DESCRIPTIONTHE NEXT WAR: Modern Conflict in Europe is a hypothetical (quasi-historical) simulation, at the brigade/division level, of a major military conflict between NATO and the Warsaw Pact for possession of what was then West Germany, and by extension, for political control of the rest of Western Europe. The scope of the game is enormous. Units from sixteen different countries are present in the counter mix. The game maps cover a battle space that extends from the northern tip of Denmark, through Germany and Austria, to Northern Italy; in addition, they display fourteen different types of militarily significant terrain. The game’s design includes virtually every significant aspect of 1970’s warfare that was known (at least to the general public) at the time of the game's publication. THE NEXT WAR is a land-sea-air simulation, but the rules for the land war, as might be expected, form the core of this complex game design. Many of the rules for the land game are familiar: step reduction, headquarters-based supply, movement modes for combat units, limited intelligence, and unit break-down and build-up, to name only a few.One unusual design feature of THE NEXT WAR — at least for its time — is that combat is treated as a function of movement, and occurs in a series of engagements during the course of the movement phase, as individual units move into contact with the enemy. In the basic “fast game” versions of the design’s shorter scenarios, air and naval operations can be dispensed with completely. However, despite the game’s emphasis on the ground war, the air and naval campaigns have not been short-changed. The elaborate subroutines for air and naval combat operations are so richly detailed, that they both can almost stand alone as independent games outside of the larger integrated simulation. The Air Game involves allocating hundreds of units to specific airfields and sectors along the front. From these airbases, the air units of the two combatants conduct a variety of different air missions, such as (but not limited to): air supremacy, CAP, air-to air, air-to-ground, air-to-naval, ground support, and air reconnaissance. The Naval Game, on the other hand, focuses only on naval operations in the Baltic Sea and Denmark Straits, and offers, in terms of maneuver tempo and combat, a completely different gaming experience from that of the air or land games. The game turn sequence, I believe, tells players a great deal about what they should expect from THE NEXT WAR. The basic “land war” turn sequence is quite simple: Warsaw Pact Reinforcement Phase, Replacement Phase, Movement/Combat Phase; NATO Reinforcement Phase, Replacement Phase, Movement/Combat Phase; and Game Turn End Phase. This “fast game” introductory rules system allows players to gain experience with the map features and combat system before moving on to the “advanced” game. The advanced turn sequence, of course, is where all of the design and development time that went into THE NEXT WAR really shows. An "advanced" turn proceeds, as follows: Weather Phase; Joint Nuclear Planning Phase; Air Allocation Phase; Air Combat Phase; Nuclear Strike Stage (multiple phases); Warsaw Pact Land Stage (six phases); NATO Land Stage (six phases); Naval Stage (seven phases); and (game turn) End Phase. It is easy to see, after looking at the “advanced” turn sequence, that THE NEXT WAR is a big game, not only because of size, but also because of the ambitiousness of its design. Jim Dunnigan was clearly trying to push the game design envelope to the limit with this project; whether he succeeded, I leave to others to decide. What is particularly interesting for me, is that only five years separated the 1973 publication of NATO, and only four years, the 1974 publication of WAR IN THE EAST (1st ed.), from that of THE NEXT WAR. Obviously, a lot happened at SPI, and in the rest of the world of conflict simulation design, in those few short intervening years. THE NEXT WAR offers six short scenarios, and three campaign game scenarios. The six (comparatively) short scenarios are, as follows: the Berlin Scenario (five or fewer game turns); Vienna Scenario (five or fewer game turns); Baltic Scenario (10 or fewer turns); the Fulda Scenario (10 or fewer game turns); North German Plains Scenario (12 game turns); and the Main Front Scenario (12 game turns). Each of the short scenarios focuses on a limited section of the potential NATO-Warsaw Pact front, and uses only the units assigned to that sector of the battle area. You can play any of these short scenarios as a “fast” game using just the basic rules, or as an “advanced” game, using some or all of the optional rules. The three campaign games use all of the map sections and all of the available forces of the two belligerents. The designer — as might be expected — recommends that players become thoroughly familiar with the unusual features of the game system, and with the optional rules they intend to use, before attempting any of these longer, more complex games. The three campaign game scenarios are all thirty turns long, and differ only in the readiness situation at the start of NATO-Warsaw Pact hostilities. The three campaign game scenarios are: the Sudden War Scenario (a surprise attack by Warsaw forces with no prior buildup); Spring Maneuvers Scenario (Warsaw Pact forces on maneuvers suddenly take the offensive for real); and the Tension Scenario (in which both sides mobilize, because of political tensions, in advance of hostilities). A PERSONAL OBSERVATIONJames Dunnigan's THE NEXT WAR — or, as one of my regular opponent's quickly took to calling it, PANZERGRUPPE GUDERIAN meets TERRIBLE SWIFT SWORD — is an ambitious, even hubristic attempt by the prolific head of SPI to reproduce, in game form, a 1970's era military clash between the Warsaw pact and NATO that, thankfully, never actually occurred. As such, it attempts to include virtually every military component that — it was thought, at the time — would be relevant to air-ground-sea combat operations if the Cold War had suddenly turned "hot". Needless-to-say, with design goals like these, it was probably inevitable that the actual game, whatever its final form, would be somewhat controversial within the gaming community. And this has pretty much been the case ever since the game first appeared way back in 1978.Among the many monster game players who, after giving Dunnigan's take on continent-wide modern warfare a try, decided that they didn't like his game design, three criticisms tended to recur with surprising consistency: first, they pointed out that the ground combat CRT was both asymmetrical and counter intuitive (it sometimes made sense, for example, to attack at lower rather than at higher odds); second, the rules integrating air-ground operations were cumbersome, while those for naval operations were downright unworkable; and third, whatever its other virtues, the basic architecture of the game — once the fighting actually started in earnest — quickly tended to be swamped by a "tidal wave" of different (and confusing) die-roll modifiers. Dunnigan's new monster game, however, was not without its defenders. Thus, those players who really liked the game (and I count myself in this category), although quick to acknowledge the validity of some of THE NEXT WAR'S playability problems, responded to the critics by pointing out that the game's "positives" far outweighed its "negatives". Yes, the CRT sometimes seemed counter intuitive, but so what? THE NEXT WAR was not the first SPI game to make use of non-linear combat results, and most certainly would not be the last. And certainly the integration of air-ground-sea operations in the game was, at times, disappointingly complicated if not actually "clunky"; still, with practice, the air-ground subroutines could be made to work together relatively well; and even the naval subroutine (and in this instance, I know whereof I speak) — with a little bit of effort and creativity on the part of the players — could be integrated fairly well into the overall dynamic of the game. The third playability problem — that the large number of die roll "modifiers" required to compute combat outcomes was excessive and needlessly cumbersome — was probably the one criticism that was most difficult to refute. Yet, even in this case, the argument could be made (and often was) that this was more a matter of degree than of substance; and that a similar criticism had earlier been leveled at Richard Berg's TERRIBLE SWIFT SWORD (1976) without markedly affecting the game's appeal to those gamers genuinely interested in a highly-detailed tactical treatment of the "Battle of Gettysburg". So why should the player response to this game be any different? One interesting idea to emerge — at least in some gaming circles — during the years that followed the initial release of THE NEXT WAR, was for (truly ambitious) players to graft key elements from the rules package of Mark Herman's excellent, if highly derivative, GULF STRIKE (1983, 1988, and 1990) onto the basic platform of the older Dunnigan design. Because of the obvious connection between the two games, I thought at the time that this might well be a workable idea; however, for my own part, such a project seemed then (and still does, three decades later) like it would probably be more trouble than it would actually be worth. Visually, THE NEXT WAR, when it is laid out and set up for play, is an awesome game to behold. The maps are — thanks to the indefatigable Redmond Simonsen — both chock full of information and yet still attractive to the eye. The game charts and tables are easy-to-use, if a bit utilitarian. And the two thousand plus counters, although back-printed in the typical SPI matte-finish style, are both readable and colorful enough to be interesting. The rule book, at over thirty pages of relatively small print, is admittedly a slog the first couple of times through; nonetheless, it is generally well-organized, and, with a bit of practice, players can usually find a "sought after" rules case comparatively quickly. One particularly nice feature of the game package is the extensive Order of Battle information for both NATO and the Warsaw Pact forces that has been included. In the opinion of at least one of my gaming friends back when the game first appeared, the research incorporated into the OoB work, alone, was worth the price of the game. Visual appeal and size, of course, will only take a design so far when it comes to its value, both as a game and as a simulation. The graphic presentation, and the sheer scale of the game, however, are not the only elements that — to my mind, at least — make this title a "winner". In addition, the texture and historical richness of the overall game system also make this ground-breaking design a worthwhile title for any player interested in modern (post-World War II) combat operations. The optional rules included with THE NEXT WAR are so numerous and detailed that it would take an additional page, just to catalog them. Suffice to say that if SPI could glean, from unclassified sources, the characteristics of a new weapons system, operational doctrine, or special combat capability, then those militarily-relevant factors probably found their way into the rules for THE NEXT WAR. It goes without saying that, for many gamers, all this information and the operational detail that it inevitably adds to the design's basic rules architecture means that actually mastering the game system — with its many phases and subroutines — is a bit of a chore. But, I submit that, for those who are genuinely interested in modern military affairs, it is a chore that is well worth undertaking. THE NEXT WAR may not be the perfect simulation of large-scale conventional (and possibly tactical nuclear) European warfare in the late 20th century, but — in my view, at least — it still does a surprisingly good job of "delivering the goods", both as a simulation and as a game. And considering that this SPI monster was first published thirty-four years ago, that is pretty impressive, in and of itself. Clearly, given the sheer volume of simulation detail that it contains and its complexity, this Dunnigan opus is most definitely not a game for the novice or, for that matter, even for the casual player. However, I can think of no better, more comprehensive simulation of large-scale, 1970’s combat operations in Europe than THE NEXT WAR. For this reason, if for no other, (and it should be noted that it is actually a "blast" to play) I consider it to be a must own for those gamers with a serious interest in recent contemporary history, or for those with an abiding curiosity about what a conflict between the Warsaw Pact and NATO might have looked like, had it actually occurred. Design Characteristics:
Game Components:
THE 'STALINGRAD' NOTEBOOK: "BARBAROSSA" REDUX16 commentsIn my first "Notebook" essay on STALINGRAD, I presented a brief overview of the two main approaches developed by Russian players — one early on, one later — to deal with the particular challenges (and opportunities) that were and are an integral feature of the Soviet strategic situation prior to the German player's opening moves. In this second installment of "The 'STALINGRAD' Notebook", I take a look at the changes in German tactics that have developed in response both to the improvements in Russian opening set-ups that started to appear in the 1970's, and to the far more effective (and nuanced) middle and late game Russian positional play that, as time went on, began to accompany those "stronger" openings with greater and greater regularity. INTRODUCTIONCharles Roberts' (Thomas Shaw and Lindsley Schutz, although generally given credit for the design, were actually the developers) game of combat on the Russian Front, STALINGRAD — except for a few post-publication rules clarifications that first appeared in The General and then were formalized in 1974 — is pretty much the same game today as it was when it first saw print over four and a half decades ago. Yet, while the basic architecture of STALINGRAD has really not changed over the years, the way skilled competitors approach the game has changed, and changed significantly since its introduction in 1963. Of course, after taking into account the minor rules modifications that have appeared since then, the main explanation for this evolution in competitive play is that, as time has gone by, STALINGRAD players have become much more sophisticated in their understanding of the game. And the result of all this has been that, for those of us who still enjoy this classic, the game has become both far more difficult to play well and much more interesting. Roberts' eccentric take on the War in the East may be getting a bit "long in the tooth"; nonetheless, it still has the capacity both to entertain and surprise, even now. Which brings me, in a roundabout way to this current set of STALINGRAD essays: in the first installment of this series, I described the evolution that Russian play underwent from the time of the game's release up to the present; in this essay, I will attempt to do the same thing for German play. However, it should be understood that these two essays are not intended to stand independent of each other; and that the evolution of Russian and German play really needs to be viewed as being inextricably linked; that is: the changes that I will be describing, both in how STALINGRAD was once played and how expert players approach the game today, actually represent a sort of ongoing creative "arms race" between the ideas of the best Russian players and those of their most skillful German adversaries. And as long as there are gamers who continue to play STALINGRAD, I expect this process to continue.GERMAN OFFENSIVE STRATEGIES IN THE BATTLE FOR RUSSIAIt has been well over four decades since I played my first few games of STALINGRAD; nonetheless, I can still remember my cringe-worthy mistakes (both, alas, with the Russians and with the Germans) and the sheer carnage in the majority of those long-ago matches. Part of the explanation for the heavy casualties that tended to characterize most of my early STALINGRAD games can, of course, be chalked-up to a lack of any serious appreciation of the strategic subtleties and underlying dynamics of the game on either my part or that of my opponents. This obliviousness to the deeper possibilities of the game's design, however, was not the only factor that, in the 1960's and early 1970's, tended, in match after match, to lead to a mass migration of German and Soviet counters from the game map to their respective "dead piles". In addition to widespread player inexperience (or ineptitude, if you prefer), the flow and tempo of STALINGRAD play in the very early days of the hobby was also colored by two very different factors which — because they both heavily skewed the game in favor of the Russians — tended to steer more than a few experienced German players towards a strategy of combat-based attrition, particularly during the early turns of the game. The impact of these two factors on the early play of the game probably cannot be overstated; therefore, I think that before preceding, a short discussion of the STALINGRAD back story and of the two game elements that so heavily impacted the game's early play is probably in order.Early Play-Balance and the Genesis of the Blitzkrieg StrategyThe first of the two "pro-Russian" factors mentioned above was baked into the game by its designers from the beginning: this was the original "historical" Russian Replacement Schedule of 4-6-8. [Avalon Hill very early on, it should be noted, included an errata sheet of sorts — the notorious "pink sheet — which offered players the option of playing with what would ultimately become the standard among experienced players, a 4-5-6 Soviet replacement rate; however, this "option" was initially resisted by most Soviet players (for obvious reasons) and did not become widely-used until some years after the game's introduction.] Given that the Axis replacement rate was (and still is) four factors per game turn, it was abundantly clear to anyone who played STALINGRAD more than once that the longer the game continued, the greater the impact that the Soviet replacement rate had on play. Since most German players could do simple arithmetic, it was obvious that — assuming average combat losses for both armies — Hitler's Wehrmacht was never going to succeed against the Red Army if it waited around for three-to-ones; instead, the chances were good that if the Germans opted for a conservative approach that they would be swamped by hordes of resurrected Soviet units by early to mid 1942. Faced with this unpleasant (if inescapable) reality, most German players (me included) opted to attack during the early game turns with something bordering on total abandon. The theory that most of us used to justify this "all out" offensive strategy was a simple one: if the Germans were to win, they would have to place their faith in the die and hope that lucky combat results would cripple the Red Army enough to allow the Wehrmacht to gobble up significant amounts of Russian territory, particularly during the critically-important 1941 and early '42 game turns. Of course, even back then, different players had very different ideas when it came to the execution of this German approach (there was, for example, the "Leningrad First" strategy, the "Minsk-Smolensk-Moscow" strategy, and, for those players who felt really lucky, the "Fall Blau in '41" strategy). Nonetheless, two major objectives tended to take center stage over and over again when it came to this brand of Axis play: the first of these objectives was for the Germans to destroy as many Soviet units as possible, as quickly as possible, (particularly the two hard-to-replace 7-10-4's and the single 6-9-6); the second goal, which was considered to be even more important (if more difficult) than the first, was for the Axis player to capture at least one of the three "Victory Cities" (the most popular target being Leningrad) before May of 1942 (this was the game turn on which Russian replacements jumped from 6 to 8 factors per Victory City): such a strategic coup, it was hoped, would prevent the Soviet player from rebuilding the Red Army back up to its full, pre-war strength in the middle and late portions of the game.
[As an intriguing bit of war gaming trivia, Don Greenwood (who had inherited this controversy, first from Tom Shaw and then from Randall Reed) was the one at Avalon Hill — I can only assume after he had seen one STALINGRAD rules question too many on this topic — to finally step in personally to end the persistent confusion over the issue of exchanges in STALINGRAD. He did so by reiterating, in the pages of "The General", that the original, printed exchange rules were correct, and that the popular "attack factors for defense factors" exchange rules, widespread though they might be among gamers, was incorrect. Most players — but especially those who preferred to command the Germans — were delighted, if a little nonplussed, when Don Greenwood (who had, at one time, alluded to the "exchange attack factors for defense factors, himself) threw the official weight of Avalon Hill (such as it was) behind the rules requirement that "attack factors be exchanged for attack factors". However, while the vast majority of STALINGRAD players were pleased with Greenwood's formal (if belated) rules clarification, it soon turned out that there was at least one group of gamers who did not appreciate Baltimore's intervention on this issue; and that was the MIT contingent, who were more-or-less headed by George Phillies, but who also included Richard Sylvan and Stanley Hoffman, among others. The reason for this kerfuffle between MIT and Avalon Hill is unclear, although the most popular theory is that the boys at MIT (particularly Hoffman and Sylvan), having developed their theory of play based on a quantitative analysis of projected loss-rates using the incorrect exchange rules, were disinclined to accept a change which invalidated much of their already-completed analysis. Whatever the reason, the boys at MIT were outraged; in fact, George was personally so unhappy with Avalon Hill that he and Don Greenwood ended up going back and forth on this issue for several months, even after the matter had been officially (and forever) resolved, first in "The General", and then in the 2nd Edition of the STALINGRAD rules.] A New Paradigm: The "Positional" or "Long Game" Strategy
Russian Geography and the "Nuts and Bolts" of German Play
The Case for the Blitzkrieg Strategy
The Positional Theorists' RebuttalThe "long game" advocates' response to the Blitzkrieg players' supporting arguments was both interesting and actually rather clever: instead of disputing the logic of their opponents' case, they began by conceding the overall validity of virtually every one of the opposing side's points; then, however, in a neat bit of rhetorical jujitsu, they turned each of these seeemingly pro-attrition arguments against their original authors. The Blitzkrieg supporters, asserted the "positional" advocates, were generally correct in their particulars, but completely wrong in their conclusions.
Debate Aftermath: Who Won?
Of course, in the end, we are brought back to the crux of the original debate: which is, all things considered, which of these two approaches gives the German player the best chance of victory in STALINGRAD? This is certainly a simple enough question to ask; however, as I hope I have been able to show in this essay, it is also virtually impossible to answer definitively. Perhaps, when everything is said and done, the issue really comes done to a player's temperment: the aggressive German commander who wants to sieze the initiative on the first game turn and maintain it thereafter, will probably prefer the Blitzkrieg strategy; on the other hand, the Axis player who is patient enough to take risks selectively, but who still wants to maximize the battlefield results of a comparatively small number of low-odds attacks will probably be more comfortable with the less nerve-racking "long game" approach. CONCLUSIONThe play of STALINGRAD, like that of virtually all of the Avalon Hill classics, has undergone a number of changes in the decades since the game's introduction in 1963. Some of these changes I have already outlined in the first installment of "The 'STALINGRAD' Notebook", but others have resulted from a process — driven by the creative efforts of a number of dedicated players — that, for want of a better word, I will call the "deconstruction" of the original game design. What I mean by this is that, as time has gone by, improved Russian defensive play has inevitably led to new (sometimes radical) thinking about methods (both tactical and strategic) to improve the German player's prospects for victory in STALINGRAD; and, just as importantly, this new thinking has also led to a reappraisal of the effect of the flow and tempo of the game on German options. Stated differently, the rise in popularity of the hyper-modern Russian defense has had a dramatic impact on contemporary views of what is actually required to generate a reasonable chance of an Axis victory. Thus, German control of terrain at various stages in the game, strength differentials between the Wehrmacht and the Red Army, and the role of low-odds attacks have all been thoroughly reevaluated by long-time players, and, in more than a few cases, old ideas have either been modified extensively or even discarded completely.Finally, I should note that the terms "Blitzkrieg" (and "attrition") and "positional" (and "long game") are my own. In order to more clearly illustrate what I believe to be the gradual evolution of German strategic thought among STALINGRAD players, I have resorted to an arbitrary and (admittedly) somewhat simplified typology of the ideas that found themselves in competition both in countless face-to-face discussions and within the pages of the hobby press over the years. It is doubtful, in fact, that even the self-professed proponents of the two schools of German play that I have outlined in this essay would necessarily agree with all of my conclusions regarding the theories underpinning the two, very different approaches to German strategy. Nonetheless, I think that, on the whole, I have been fair to both factions, and that the preceding description — brief though it may be — is generally true, if not to the letter, then at least to the "spirit" of the facts. Related Posts
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