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There’s Something About a War

March 26th, 2011 by Troy Goodfellow · Design, Me

More than any other franchise, the Total War games bring out the butcher in me. I would love to say that surrounding and annihilating an army of peasants to the last man is a purely strategic decision in Shogun 2, but mostly I eradicate and eliminate enemy forces just to see if I can – to make those casualty scores at the end of a battle tilt overwhelmingly in my favor.

It’s not just Total War. Though pursuit is not always the wise choice in a wargame, I do it a lot in Operational Art of War and War in the East. I’ll happily let a beaten army escape in Europa Universalis (since at least I always know where a small army is), but in some games I will chase and chase and destroy until the bodies pile up.

As much as I like to talk about how I prefer to act ethically in strategy games, rarely playing the aggressor and avoiding playing certain factions, there is no doubt that strategy games can bring out the vengeful, angry, and murderous side of me. In Victoria 2, I will kill the proletariat as it revolts instead of introducing better wages or political reforms. In EU, I will convert foreign populations; in the first one, I would instigate religious revolts to eradicate entire populations and then settle with colonists. In Rome: Total War, I regularly massacred cities and assassinated enemy leaders. In Civilization 2, I would plant nukes and I will let them fly in other Civs if I “have to”. Nerve stapling in Alpha Centauri? Don’t pretend you never did it.

In short, like many gamers, I play strategy games “like a psychopath.”

In his very interesting essay, Jonathan McCalmont argues that the design of strategy games encourages aggressive behavior that would probably be defined as war crimes. Because, in most cases, the player IS the state, progress is defined entirely in terms of the power and success of the state as a state. Since we never really have to deal with the consequences of behaving like a tyrant, and, in fact, tyrannical behavior can be undertaken no matter what the real form of government you imagine you have, gamers become morally detached. In a way, this is the whole “It’s only a game!” argument – it’s not real people, so we are freed to do things we would never countenance in real life.

McCalmont goes on to tie some of this to the evolution of International Relations Theory after World War 2, especially the work of Kenneth Waltz, though the nuclear conflict research of Hermann Kahn and the game theory work of Thomas Schelling should get some mention here. Nations become unitary actors with interests and nothing more, so anything that helps the nation achieve success is legitimate. The direct connection between Waltz and Meier is pretty thin, but McCalmont argues that reifying the state as Waltz does is no different from what strategy game call on us to do. It’s not a cause and effect thing, but two similar things that, he argues caused diplomats of the 60s and 70s and contemporary strategy gamers to behave as if little things like civilian casualties and human rights didn’t really matter.

It’s an interesting argument, but I think it misses a few things about strategy games and their design. First and foremost, of course, games are generally not cooperative experiences. They are, most of the time, zero sum so the success of one means the failure of another. While the real world is full of cooperative institutions and factors that bring humanity together instead of tearing us apart, games generally have winners and winning means that there must be sides and teams. You could argue that this strategy game is based on flawed understandings of international politics or history, but the assumption of conflict underlies every modern game genre, except for certain types of simulations. Even games that allow you to be awesome and nice, like The Sims, are almost always more enjoyable when there is tension between the actors.

Games turn war into sexy math. When I chase down ashigaru bowmen, it’s not simply so they don’t live another day. It’s because I get rewards and a heroic victory thing and my troops gain experience and buffs for killing lots and lots of people, no matter how helpless they are. It’s not simply that many games detach us from the humanity of conflict – it’s also that many of them pat us on the back for being inhumane. Our scores and progress depend on it. Even games with peaceful winning conditions, like the Civ series, find a way to force you to care about your army. If you are weak, you will preyed upon, so you have to deter attack. The corruption penalty in many version meant that razing or starving a city were not just allowed, but encouraged.

McCalmont’s argument that the problem with strategy games is that they are too abstract misses the fact that many of their mechanics reward the gruesome behavior, not just because it is fun but because it is sensible. Wars are the way forward in many strategy games – the only way to get more resources or more power or to advance whatever passes for a plot. I can probably count the number of totally pacific grand strategy game sessions of my life on my two hands with a couple of fingers left over; I may have won only two of those.

But, I think, there is also something seedier and it is rooted in our long cultural love affair with war.

You march until you’re bleary,
But there’s something about a war.
The company is dreary,
But there’s something about a war.

(from ‘There’s Something About a War’, song cut from A Funny Thing Happened on the Way to the Forum.)

You don’t have to be Miles Gloriosus to appreciate the dark and savage beauty of war. Though I wish war on no one, and would love to see it eliminated from the planet forever, our ancestral inheritance of seeing war as a necessary evil continues. We must always support the troops, because they are doing noble things even if the war itself is a bad idea for the country. Acts of great heroism on the battlefield are feted by our national leaders. Movies that show the glories of war generally do better than those that show the horrors.

The Total War games are probably the best at making battle itself a thing of beauty, with the Combat Mission franchise a close second. Just as a formula or equation can be beautiful to a mathematician, seeing a battle plan perfectly executed and then every enemy soldier perfectly executed is a thing of great beauty to a gamer, and even some generals. Cannae, Austerlitz, Tsushima…moments when everything seemed to go to plan and the result was an enemy force overwhelmingly defeated. I chase routing units because I can. I nuke enemy cities because the invasion calls for it. I launch sneak attacks because to hell with laws of war. I have a plan, and part of the plan means no survivors.

Well maybe one. Someone should tell the enemy king what to expect.

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Three Moves Ahead Episode 109 – The Contractual Obligation Album

March 25th, 2011 by Rob Zacny · Podcast, Three Moves Ahead

ThreeMovesAhead

After the panel completely falls apart on the eve of recording a Dawn of War 2: Retribution episode, Troy and Rob soldier on by themselves. Troy hasn’t played Retribution, but he is happy to announce his upcoming marriage to Field of Glory. Rob forgets that he’s on a podcast and just starts talking with Troy, and along the way he mangles a great Provost Zakharov quote and explains why he thinks refinement is undervalued compared to innovation. At the end, Troy talks about his upcoming meet-up, and Rob asks for listener input on a 3MA website. Then Audacity eats his audio file and the entire episode must be produced from a Skype recording.

The Zakharov quote:

“There are two kinds of scientific progress: the methodical experimentation and categorization which gradually extend the boundaries of knowledge, and the revolutionary leap of genius which redefines and transcends those boundaries. Acknowledging our debt to the former, we yearn, nonetheless, for the latter.” – Academician Prokhor Zakharov, “Address to the Faculty”

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Welcome to the Century

March 19th, 2011 by Troy Goodfellow · Me, Tech

For years I have had what one dear friend not so affectionately called a “shit phone”. I only needed a cell phone for conferences and ad hoc communication for the most part, so the shit phone worked fine.

Today that ended with the purchase of a proper iPhone. I am already filling it with the apps I need to do my job – Tweetdeck, Facebook, Trillian, Daily Burn (yeah, don’t ask) – but am clearly a bit behind on the state of the art in iStrat Technology.

Fill the comments with suggestions for things I must have if I want to do my job selling and writing about games I like.

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Shogun 2 Early Moments

March 18th, 2011 by Troy Goodfellow · Creative Assembly

So I got sucked in, mostly because Bill Abner told me that it was actually pretty good – the regular elimination of the Oda on the first turn (ever single game) notwithstanding. You can read his game diaries on No High Scores – first turn here.

Though I defended the general design principles and aesthetic of the Creative Assembly games in a very spirited Three Moves Ahead near the beginning of its run, I can’t deny that I was exhausted by the idea of playing another Total War game. The changes have been gradual, the campaign AI was never really all that good without some cheating that could get annoying, and by the time I saw Shogun 2 at E3, I was immune to the spectacle. I did not want to buy this.

But here I am playing it and I can’t say I’ve put a ton of time into it. Some battles, some campaign tests, no multiplayer yet. And I have to say that I am pleased by what I am seeing, even on normal difficulty.

The AI controlled generals still do suicide runs into the waiting arms of your spearmen, and it is still incompetent at sieges – can’t assault in an aggressive or cohesive manner and will never starve you long enough. But for the most part, the battle AI is improved. I’ve seen the computer retreat to reform lines, spring ambushes, pause before attacking…all things that I rely on. I would regularly mop up enemy armies that outnumbered me 2 to 1 in early Total War games. I can’t expect that to happen now, even if I have a friendly battlefield.

Strategically, the computer is also better. It will offer sensible peaces when it is being pummeled, it will move assertively to claim trade ports and knock out weak factions, and will almost never offer battle if it thinks that it doesn’t have a chance. You don’t have that trickle of nonsense units trying to wear you down. And, even better, it will use the oceans to move its troops.

There are still some issues. The aforementioned Oda Elimination Consistency is very disappointing since it means the AI will do the same thing in the opening moves of every game. I am still not sure the AI is using the ninjas and monks, but that’s probably because I am not deep enough into some parts of the game yet.

But it’s a surprise that I like it as much as I do considering how unenthusiastic I was. I am not saying you should buy it now, but I am saying you should give it a hearing before just passing by.

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Three Moves Ahead Episode 108 – Three Men of War

March 17th, 2011 by Rob Zacny · Podcast, Three Moves Ahead

ThreeMovesAhead

Julian and Rob are at death’s door following PAX East and a week of cruel beatings at the hands of Men of War: Assault Squad. Rock, Paper, Shotgun’s Jim Rossignol, author of This Gaming Life, comes to their rescue, and together they try to figure out why this genre-breaking, rule-defying battlefield simulator exerts such a tremendous fascination.

Wot Alec Meer Thot of the original Men of War

Jim, in The Escapist, on Men of War and heroism

Jim on Men of War: Red Tide

Jim on Assault Squad

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The French National Character

March 16th, 2011 by Troy Goodfellow · Feature:Nations

What this is about, including full list.

In spite of all that France has given the world, few nations are as heartily disliked in the English speaking world. French has become synonymous with snobbish, pretentious, rude and cowardly. This is a twentieth century opinion of course; in the 19th century France was full of overly emotional romantics who would start a war at the drop of of a hat.

Though much of America insists on seeing France as “cheese eating surrender monkeys”, its quick collapse in the face of Hitler’s Blitzkrieg in 1940 shouldn’t blind us to the immense and catastrophic sacrifices of French youth in World War I, not to mention the feats of French arms and culture in the Enlightenment and Revolutionary periods and the fun of the Versailles court.

Even the negative stereotypes about the French have the veneer of civilization – that the French look down on tourists and foreigners because they are convinced of their own superiority. There is an abiding fear among non-French people that the Parisians may be onto something, that French food and literature and art and love are in fact the pinnacle of Latin evolution. Even Napoleon is hailed as a cultural giant instead of the brutish Philistine he probably was most of the time.

Strategy games have generally reflected this internalized concept of the French as being more civilized than their compatriots. Where Germany (as we will see later) has a hard time escaping its World War 2 legacy, strategy games throw aside the persistent popular opinion of France as weak kneed cowards in order to embrace the idea that maybe all those notions about wine and cheese and the Louvre and Cocteau and Monet and Moliere making a France worthy of admiration have something to them.

Like most types of soft power, culture is hard to model or make inherently interesting. Victoria 2 has the culture research tree and France (with a couple of other continental powers) starts with Romanticism researched while Britain doesn’t. Culture helps you gain prestige, but it’s hard to make it as sexy or useful as another National Focus slot or breech loading rifles.

Civilization has culture, of course, and it is turned into a land grab mechanic, and on the face of it only Civ 4’s Louis the XIV (who has the creative trait) and Civ 5’s French power of “Ancien Regime” seem to embrace the idea of the French as a cultured people. But in Civ 4, the salon unique building gives the city a free artist. The French wonders in both games (especially the Eiffel Tower) have major cultural bonuses. There is no escaping the idea that if any nation cared about art and music and haute couture, it is France.

But being cultured is more than being artistic. It’s a framework that avoids violence and uses soft power to seduce or delay conflict. With France, this is most evident in games that focus on the Age of Exploration, a period when France was continually in conflict with its European neighbors over scraps of land in both Europe and overseas. If any nation is going to get along with the natives they encounter, then it will be the French. Because they are civilized.

You see this in Sid Meier’s Colonization, of course. Relations with natives will degrade regularly in that game as you expand and start grabbing land, but this tension grows more slowly for the French. In the under-appreciated Conquest of the New World, France starts with a 30 point bonus to its relations with natives – a significant boost in a game where random raids can slow down exploration and expansion. The unspoken assumption is that the French weren’t really conquerors of the New World. Drawing on the alliance with the Huron, the coureurs des bois and the French crown’s reluctance to promote settlement colonies like their English rivals, France becomes a power that can slowly grow in power because they are too cultured to worry about brutalizing whatever “savages” show up.

Of course, French colonial history in the Caribbean, Africa and Asia was far from “live and let live”, but the overwhelming success of Britain and Spain in the rush for overseas territories makes it easy to imagine France saying “Well, we didn’t want that anyway. We have Paris.”

There are always exceptions. The Franks in Age of Kings get stronger cavalry, as do the French in Rise of Nations (they also get a very civilized bonus – supply wagons that heal.) In Civ 5, even, the French get two unique gunpowder units – the musketeer has been there since Civ 3 and is likely to stick around in future versions; nothing like the power of a good book.

But the problem of the power of French culture remains. How do you convey a national character that is about the power of ideas and art in a genre that has always preferred science and conquest? It’s not just the French – Greek culture is reduced to science bonuses, Roman culture is ignored in favor of legions, American and English cultural imperialism is never modeled…national personalities that center on the less tangible or easily militarized attributes never really come into focus well. We end up with nice guy mini-Champlains and the Eiffel Tower or Versailles or the Louvre underscoring how amazing France can be.

It may be hard to appreciate, but it’s better than being considered the pushovers of 1940. (Screenshots to follow)

Next up, the great power of central Europe, Germany.

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