27 February 2021

Days of Ire: Ep.7 - Budapest 1956, and beyond

 

“On October 30, cardinal Mindszenty was released (…). Nagy’s government announced free elections. Colonel Maleter placed his troops at the government’s disposal."
[Translation from Portuguese] in Martin Gilbert's “História do Século XX” 


Days of Ire: Budapest 1956 ends on this very October 30. However, this was not the end of the history of the Hungarian revolution. A huge soviet contingent crossed the Hungarian border on November 1st, heading towards Budapest. Imre Nagy appointed a new government and withdrew Hungary from the Warsaw Pact. Colonel Pál Méter was promoted to General and became Defense Minister. Barricades were built across the city and people were ready to fight. And the fight did occur. To no avail. The soviet forces controlled Budapest. Méter and Nagy were detained and later executed, in 1958.

During the revolution “over 2,500 Hungarians and 700 Soviet troops were killed, and 200,000 Hungarians fled as refugees” (in Wikipedia). János Kádár, the new head of state, would remain in office for the next 30 years, almost until the fall of the Berlin Wall, and the collapse of the Soviet Union.

Digging in my books, I found some information on the positioning of East and West.




Western leaders seemed not to be prepared for an internal popular movement of this magnitude. As Henry Kissinger writes, in his book Diplomacy, where there is a whole chapter on these events - “Hungary – Upheaval in the Empire”-, despite all the american rhetoric on “liberation”, such an explosion has not been anticipated. Even when workers and students were fighting soviet tanks on the streets, Washington kept silent. The appeal to the UN Security Council had no practical effect, as by the time a resolution was to be voted, the soviet tanks ruled over Budapest. And the Realpolitik imposed itself: pushing forward the right principles could have pushed the two blocks into war, even into a nuclear one.




To better understand the mind set of the Soviet side, and the impact of those events in the following decades, it is worthwhile to read William Taubman’s Gorbachev biography. 

By the time of the Revolution, Yuri Andropov, who later supported the ascendant path of Gorbachev, was the Soviet Ambassador in Budapest. 

Andropov, who asked for the intervention forwarding images of hanged Hungarian communists, developed what some call “the Hungarian complex”, a fear that up warding revolutions would lead to popular governments. But he knew that, unlike the official version, the uprising was not instigated by foreigners, but a genuine rise of the people, and the proletariat, against the regime. And that is the reason why he supported downward controlled reforms, to defuse potential rebellions.

Almost thirty years later, by the mid-1980’s, Gorbachev told the Politburo “the methods used in Czechoslovakia and Hungary are no longer good; they will not work”, stating for the first time that military force would not be used to keep control over Eastern Europe. 

Furthermore, he really did not consider most of the leaders of Eastern European countries as equals and fit for modern diplomacy, with the exceptions of Jaruzelski, in Poland, and Kádár, already ill, in Hungary. But the message was not clearly conveyed, and the leaders in satellite countries still assumed that the Soviet Union would intervene to keep them in power, whenever necessary. 

On the other side of the curtain, the West reamined sceptical of Gorbachev’s real intentions.



                            Wikipedia                                              
                            Source: Hungarian State Security Archieves                                 


I had little knowledge on the Hugarian revolution and its impact, before starting the project. Not much more than a diffused idea of street battles, with ordinary people on side, and tanks on the other. After all, the post-WWII history of Eastern Europe was not a subject in history classes, when I was growing up, and ordinary mentions were more frequent to Dubcék and the Prague Spring of 1968. 

Furthermore, for some time, I had been more drawn into the history of the open battles of WWII, in Europe, North Africa, and the Pacific, even when following the Cold War politics of the late 1970’s and early 1980’s, punctuated, among others, by the Olympic Games boycotts in 1980 (Moscow) and 1984 (Los Angeles).

More vivid memories come from the late 1980’s, with the rise of Mikhail Gorbachev, the fall of the Berlin Wall, and the ensuing reunification of Germany and the collapse of the Soviet Union.


This has been much more than a game experience, as it became a real learning experience, not only of the events of the Hungarian Revolution, but also on the lines and knots that keep the History web together, linking past, present, and future.


The international scene is now quite different from the times where the War was Cold, the Curtain was made of Iron, and Berlin was divided by the Wall, somewhat now limiting direct external interventions. 

However, there has been no shortage of internal conflicts, in recent years, with people taking to the streets, tanks being deployed to city centres, and military intervening, such as in Iran (2009), Egypt (2011), Ukraine (2013), Belarus (2020), Myanmar (2021), to name just a few. 

Furthermore, Poland and Hungary, now Members of the European Union, are again aligned, but for unfortunate reasons: they have been under severe scrutiny and Article 7 procedures of the Treaty have been initiated against both countries (in 2017 and 2018), meaning they are at clear risk of a serious breach of the values upon the EU is founded.


History is always in the making!


26 February 2021

Days of Ire: Ep.6 - The fate of the revolution

 

“We spend the night, without thoughts of sleep, helping unload and load trucks at the Hungarian customs house. We almost forget that we are supposed to be reporters and that this is a news story. It’s so much more than that…”
Frederick ("Fritz") Hier, A Hungarian Diary, 28 October, while working for Radio Free Europe


Zsombat,  Október 27 

Far away, on the other side of the Atlantic, there were calls to the UN Security Council. A sign of hope. Still, the international policy moves too slowly for those on the ground. 

At the same time, there is now an offer of amnesty on the table, designed to stop the revolution, or to, at least, sow incertitude. The proposal has its effects, and among us, Valéria opted for quitting the fight. 

On the other side of the barricades, we heard that there also snipers withdrawing, but all remains way too foggy.




The old truck still runs across Budapest, and there we go again, Imre and I, to the University, just to pick up Ferenc, and head to Csepel.

Ferenc was a genius with communication devices, and we were able to improvise radio broadcasts, and thus spreading the voice of the revolution. Furthermore, we knew that so many people were anxiously listening to the radio and trusted us. Our morale has never been so high, despite all adversities.

Corvin Passage was now one of our strongholds, as there were armed civilians maintaining control. 
Nevertheless, and as we made progress throughout the city, fire exchange with militia remained frequent, and I was injured yet again.


Vasárnap, Október 28



There was a glimpse of hope, as truce was declared. We were expecting soviet forces to withdraw, leaving room for us, the Hungarians, to take destiny into our hands. But it was not to be. The truce was betrayed, and the soviet tanks were back at four locations at least. Things are taking a darker turn.

More armoured forces are coming into play, as party leaders leave the country, and reinforcements are arriving at HWPP.

We are getting outnumbered. We are getting stuck.

Radio Free Europe still provides a small light in this dark day, but we don’t really know their effective reach, when the clock seems to be ticking faster.




Now we move to Blaha Lujza Square, closer to the enemy forces, where a new fighter joins the group, Péter Hajas. As we were on the move, a tank opened fire and I was hit by shrapnel. I was treated on the spot, thanks to the first-aid kit we were carrying, and at least I was still well enough to get out of there.

We managed to escape, and joined, with Ferenc and Péter, another protest organized at Bem Statute. Playing cat-and-mouse all the time. And these protests were so useful to keep the support high, showing that military power was not enough to break us down.


Hétfő, Október 29

New people were still coming to us, to take part on the protests, demonstrations, and fights. This time it was János who approached us, with his truck. 

We were trying to make the best of the confusion that seems to have taken over some of the enemy troops, that were moving back and forth, uncoordinated. All we need is a final push to keep the popular control of the events unfolding on the streets of Budapest, but the forces were piling up on the other side. We knew there were now even more snipers after us.




The situation was bad at Kossuth, with the arms being unleashed, leaving many injured or dead, a bloodbath... We took all the medical supply we could and went there in a hurry. The situation was critical, but nevertheless we managed to take good care of a lot of people, and event to divert a tank from the square.

Even so, there was no time to lose, and soon I had to meet Marta at the Astoria, where we would also get help from Ilóna, an expert in medical emergency. There were tanks nearby, but we avoid them.




We all felt that it was then, or never. We could feel that victory was possible. We rushed through the Radio, Corvin Passage, and back to the University.

Having Ilóna with us proved crucial, as nearby the University an ambulance was under fire, and medical attention was required. Our teamwork was, once again, successfully put to the test.

We are back to the starting point, to our University. The sun goes down, in this mild October, and night falls over Budapest. One week has passed, and it is hard to recall all the frantic moments, and to shut down some sights and sounds from our mind. I was not in good shape, as the constant movement and action did not allow the wounds to heal properly.


Kedd, Október 30 




The time to make a real assessment of where we stand has come. 

Despite the wounds and the fighters we lost – Margit, Júlia, István -, we managed to take decisive action all over the city, and to successfully resolve most of the critical situations and most of the confrontations. 

We were that close to achieve victory … 

However, there were way too many militias around, and people feared more and more to come to the streets. Movements were increasingly harder. The armed pressure showed no signs of relief. Resources were growing scarce.

What if we had engaged more in an armed fighting? 
What if we had targeted more the militia? 
What if … 

Reality struck, our morale plummeted, and we knew that there was no real point in going on. 

The revolution has failed.


25 February 2021

Days of Ire: Ep.5 - I joined the revolution!

 


“Pursuant to provisions of Article 34 of the Charter, the Governments of France, the United Kingdom and of Great Britain and Northern Ireland, and the United States of America, request the inclusion in the agenda of the Security Council of an item entitled: “The situation in Hungary”, and request further that you convene na urgent meeting of the Security Council for the consideration of this item.”
Letter to the President of the Security Council, 27 October 1956”
Letter to the President of the Security Council, 27 October 1956


It has been an eventful night. We were more than 2000, gathered at the University meeting, and when the reason for presence of soviet forces in Hungary was questioned, the mood started to change. Feeling empowered, our focus shifted from student issues to democracy and real independence. Soon afterwards we were drafting demands!


Kedd, Október 23




There is fresh news. Tanks and militia sighted on the streets. There are also accounts of sniper fire, scattered across the city.

We then learned that Zhukov ordered Soviet forces to enter Budapest city centre. Two new armoured vehicle units have been spotted near Corvin Passage and Bem Statue. But there is now growing popular support to our actions, the early doubts are dissipated, and our morale is increasing. We just heard that Imre Nagy returned to power! In the meantime, the crowd burns propaganda, and the information war is raging.

I left the University and walked along the Danub towards Bem Statue, carrying some “bottles”. 




Upon arrival I met Júlia and, yes, there was in fact a huge tank in the middle of the street, menacing the crowd. Just as we arrived it opened fire! We were lucky enough not to get shot. Not a moment to think twice, it is time for retribution.

We both had Molotof cocktails in our hands, we got as close as possible, and threw them at the tank, which was set ablaze. Only then we realized, for the first time, that even the mighty Soviet forces could be defeated in our home streets, with nothing more than our almost bare hands!

Afterwards, still shaking, we headed together to Széna Square, where Marta Wawelska, a common friend, joined us, she too ready to hunt down tanks.

But the militia and snipers were chasing us, after our action at Bem. We again escaped unscathed. I don’t how long we will be able to dodge the bullets…


Szerda, Október 24 

A curfew was imposed, but that would not deter us, we would just have to find new ways to move around. Unexpectedly, some militia units retreated, hinting on the confusion and hesitations of their leaders. Maybe we can push them a little bit further and, who knows, they might lay down their weapons.

As an act of defiance, the national song was read at Bem Statue. Imre, who was there, promptly joined our faction. He would become handy in gathering food supplies. 

At almost the same time, István Kopasz joined ranks at the University, bringing with him the expertise on small weapons and ammunitions. 

As Péter Veres read the manifesto in public, István joined us at Széna square, and Julia and Marta left to Kossuk, in search for soviet tanks.

We were constantly growing in numbers and diversifying our abilities, and we could feel the support growing.




As the militia stormed the square, István opened fire and hit two of them. He could not have arrived at a better occasion, but we were concerned that the situation could escalate out control, leaving many dead or injured, many of which would be our fellow civilians. Nevertheless, we all felt that there was no turning back.




The civilian medical staff was there, at Széna, treating injured people no matter their side, nationality, or uniform, and risking their own lives on the process. A medic just got injured as some shots were aimed indiscriminately.

Time to get on the move, as it is a bad idea to stand still for too long. István and myself moved back to Bem Statue, to join Imre, and then the three of us headed to Kossuth Square. Júlia and Marta were already there and had find yet another soviet tank to target. 

The momentum was on our side and for the second day in a row we blew up a tank without suffering any casualties.




However, the main hazard at the moment were not the tanks standing still on the streets, but the snipers hiding in tall buildings.

Our violent actions did not go unnoticed and, somehow, they managed to track us down. Some close calls, until being hit. Just to flesh wounds, but it took a toll on our morale. We realized how fast can all be over…


Csütörtök, Október 25 

Some good news coming from the outside! It seems there is CIA involvement around. Will the Americans, finally, provide us with real support on the ground, ammunition, supply, intelligence? That might turn the tide in our favour, for good.

Meanwhile, we decided to go to the Astoria, where Valéria Pille joined us. It was time to assemble a team and strike again. 

So, we went back to the University, where Imre was going to stay for a while, to prepare another batch of food supply. We could always count with support of the fellow students, and we kept insisting on making our demands heard.

Valéria asked Margit to come along, and the three of us left in search for tanks, heading first to Csepel. 

There were Militia shots, both at Csepel and the University, but with no consequence.


Penték, Október 26 

The overall situation remained undefined. One hand, there seems to be division on the Soviet camp, where some do not support the military intervention and are seeking for another type of solution. A couple of units are even retreating. On the other hand, the armoured units were more active than ever on the ground, probably profiting from a news blockade to avoid further international pressure.




For the better, the revolution has now its own tank! He just arrived at Corvin Passage! The battle for street control continues and we are looking forward to freeing them from Soviet tanks.

We headed to Corvin, more determined than ever, ready to take another shot at a Soviet tank. And we did! The third one to go, thanks to a joint effort with Margit and Valéria. But the success was short lived. Margit was badly hit during the ensuing fire exchange…




Later that day, still nearby Corvin, Ferenc, a communications expert, joined us, and we went, once again, back to the University, always a focal point to regroup and reorganise.

Upon Ferenc’s suggestion, we started to remove the five-point red stars from buildings, whenever possible, as a public statement that the era of Soviet control over the Budapest had come to an end.



Keep moving, I thought! 

This time, I crossed the city on the back of a truck, alongside with Imre and Valéria. We went to Széna, where we organised a fighter group, and instructed them on the art of building street barricades, from whatever is available.

Not without another fire exchange with militia, another close call. This time I was well armed with a PPsh-41, ironically a soviet-made submachine gun, they used to call papasha

I was just recovering from this exchange when I learned that Júlia and István were shot down by snipers, somewhere around Kossuth Square… 

Four days, and the line separating life and death is wearing thinner and thinner. 


To be continued ...


24 February 2021

Days of Ire: Ep.4 - At the table

 


"Comrade Zhukov: Comrade Mikoyan is acting improperly, he's pushing us toward capitulation. We must insist on a firm position. Comrade Shepilov: the step was extreme, but correct. Real power is with the troops. To make further concessions would be regarded as weakness. Comrade Furtseva: Comrade Mikoyan, apparently, is mistaken about Nagy. They released 1,000 who had been arrested. Comrade Khrushchev: Mikoyan is acting as he said he would. Comrade Mikoyan supported a position of non-intervention, but our troops are there."
Working notes from the session of the CPSU CC Presidium, 26 october 1956


I open the box, remove and unfold the game board, a map of Budapest, laying it on the table. Then, I take the components and place them over the map: different sets of cards, two dice, counters in different shapes and colours - green rectangles, brown triangles and squares, red hexagons, orange octagons -, three transparent hemispheres, player tokens, circles bearing the words action, free movement, and inactive, black drops over red circles. Abstract components. Top-notch components and production from Mighty Boards, I may add.

Slowly, they start to change in meaning, pulling me back across space and time, towards Budapest 1956. 

Black and white pictures on the board, portraying buildings, people, statues, armed forces. Decks of cards labelled as General Zhukov, State Protection Agency, Revolutionary Card, Day of the Revolution, Armed Uprising, The Turning Tide, or Event. Green rectangles with silhouettes of men and women, bearing names such as István Kopasz, and icons such as ammunition, Molotov cocktails, radios. The brown triangles and squares with soldier silhouettes, the red hexagons featuring armoured vehicles, the orange octagons showing barricades. The drops are, well, drops, blood drops.



In the box, not one, but three booklets. One with the same cover from the box: the woman holding a rifle in the left hand, the Hungarian flag stripped from the coat of arms in the right one; in the background, almost as a black and white picture were it not for the flames, soviet tanks are set ablaze, in a street battle; the red, white, and green from the flag, ever present in the graphic design, as a unifying element. A beautiful piece of art by Kwanchai Moriya. As the art of the Soviet cards, also authored by Kwanchai, the revolutionary cards by Katalin Nimmerfroh, and the graphic design by Sami Laakso.

This is the introductory booklet, containing a game overview, the setup for all three modes of play, an account of the revolution, and a set of appendixes with detailed information on all the cards and all the fighters. 

Then, there is the green booklet, the Zhukov ruleset, for the solo and cooperative game, where the player or players take the revolutionary side. 

The third one is the red booklet, the Conflict ruleset, where one of the players will take the side of the Soviet and State controlled forces. 

Booklets in red and green, nicely laid out, with room to breathe, clear instructions, and suitable examples. And with many small details enriching the playing experience and guiding the player in a journey throughout history and culture: black and white archive photos, history insights, and the phonetics of Hungarian names. 



The map of central Budapest, with the Danub river and the many bridges. Bem Statue and the University of Technology on one of its banks. On the other, Kossuth Square nearby the Parliament and Ministry buildings. Killian Barracks, the Corvin Passage, Corvin Theater. The Radio and the National Museum. Blaha Lujza Square and Stalin Square. Names and places still unfamiliar, waiting for us to venture into those streets.

A simple yet very efficient iconography indicates all you need to know for setting up initial forces, deploy reinforcements at the end of each day, keep track of support, morale, and calendar day. Coupled with the back page of the rulebook, holding a summary sheet, it provides an easy access to the basic information required for smooth play.




Tuesday, 23 October 1956. Tuesday, 30 October 1956. One single week. That was the time span from the beginning of the uprising to the ceasefire and withdrawal of the Soviet forces. Seven days. Seven rounds, one for each day, putting you to the test, with the conflict outcome to be assessed on the 30th.

To win, the revolutionary players must survive and hold morale, until the end of the game. But this will not be enough to be granted victory, as revolutionaries will be striving to resolve events unfolding all across the city. No more than four events must be left unresolved by 30 October! So, you will be also racing against time, as momentum is crucial in all revolutions, to rally both internal and external support. Victory may even be achieved earlier, should you be successful in repelling all militia and Soviet tanks out of the capital. 

Mind that Victory is not a steady and definitive state. The historical meaning in here being that the Soviet forces agreed to a ceasefire, facing the mounting casualties and pressure, withdrawing from the country, to return in force, just some days afterwards. But that is another chapter, another play.




Having only played it solo, this far, let us start with the Zhukov rules, in use for solo and cooperative modes. Zhukov, General Georgy Zhukov. We meet again! Last time, the battleground was Stalingrad, the winter was coming, and the fight for the city, against the German Armies, was intense. The game was Pavlov’s House, and the roles were quite different. Years later, in 1956, Zhukov was Minister of Defence of the Soviet Union and in command of the Soviet forces in Hungary. He will be our opponent.

Each day starts with the Soviet phase, driven by a specific deck of cards, the Zhukov set. Some cards will favour the revolution, while others will favour the Soviet side, depending on the card colour, the overall support level for the revolution, and the very day. Mind that support for an uprising is crucial to have any chance of success against military backed ruling power. 

Each card features three possible actions for three different periods of this week, the one to be triggered depending on the calendar day, thus accounting for the evolution of behind-the-scenes real elements that shaped those days.




The Zhukov cards may also trigger events, some of which take place at specific locations in Budapest and are thus placed on the city map. These are the events that we, as revolutionaries, must resolve during the game. Furthermore, some events may be interlinked, affecting the successive outcomes. 

One important feature is that some cards will shift support, towards the revolutionary side or towards the Soviet side, and the same goes with morale. Stuff to balance and to make play in our favour.

The four cards drawn at the beginning of each day will thus change the scene in Budapest, calling for swift tactical adjustments.

Another beautiful design detail: locations are represented on the map by white and black photos; event cards to be played on those locations have a background with exactly the same picture, thus maintaining visible all the photo, as if the playing instructions were merely superimposed.




Then, it is up to us!

As revolutionaries, we will be roaming across Budapest, recruiting fighters for the cause, combating militia and tanks, resolving events. 

Our assets represented by cards, include movement (Transportation), the communication war (Newspapers, Information Leak), aid from the population (Aid, Food Supplies, First Aid Kit), weaponry (Molotov Cocktails, Pistol, PPSH-41), and street barricades (Build Barricades).




We will be activating and rallying fighters, for the revolution is not a single man combat, and relies, not only in numbers, but in complementary capacities as well.

The men and women that will join us are not anonymous people. They have names, may bring specific resources, and may have specific abilities. Important point: we need to first draw them into the cause and organise them in a team. You see, on the dawn of the 23rd, they are ready to fight, but are still waiting for a leader to follow. 

Once engaging in the fight, they become targets for the militia and snipers, just as we are.




During the day we will be attempting to resolve the events unfolding at the various locations, by gathering and using resources, from our own stock – the cards -, and from the active fighters who are in place, or moving alongside us. 

Students’ demands at the University of Technology.  These came to be on the night from 22 to 23 October. Location: University. Required resources: food supplies (3) and communication to spread the news. Resources gathered: enough food supplies thanks to Imre Colos, and reliable news thanks to the newspapers. Outcome: a boost in popular support.




We will be engaging in combat against Militia and Soviet Tanks deployed to the streets of Budapest. Yes, this is also a block-by-block battle, with heavy guns, snipers, ambushes, and barricades.


Therefore, we need to have the right weapons and ammunition, at the right moment. And to always keep on the move, to avoid sniper attacks.

The targeting of Soviet tanks, cornered in the narrow streets, outside their natural operational environment, proves to be decisive, both in terms of moral increase as in terms of the Soviet decision-making.




This is a factor of paramount importance since high morale will grant you access to more assets, while an extreme drop in morale will inevitably lead to immediate defeat on the battleground and to the failure of the revolution.




The day will not come to an end without the action of the feared State Protection Agency.

In the solo and cooperative modes, this deck of SPA actions will be replaced by an automatic movement of militia, whenever they are in neighbouring locations to the revolutionary leader, and of snipers, always getting one step closer.




As a result, they will target revolutionary leaders, active revolutionary fighters, and barricades, eventually causing casualties on our side. Fighters will be shot down, as will leaders. 

For gameplay purposes, leaders may eventually be healed, while fighters may not. Tough decisions lay ahead, when deciding on the deployment of our fighters and who may take a hit.




The cooperative mode adds some more layers into this experience, with the number of actions to perform each day being evenly split among the revolutionary players. Therefore, coordination becomes of paramount importance, in order to keep the revolutionaries safe, to gather the needed resources, to deal with multiple events, or to exchange assets.

The experience with the Conflict set of rules, with one player assuming the command of Soviet Forces, should prove to be even more distinctive.

Two extra decks of cards come into play, the headlines set (replacing the Zhukov set) and the SPA pool, with the Soviet player having to carefully weigh-in the options. 

In order to gather and then trigger events, command points must be fristly collected. But for red cards, that would favour the Soviet side, this will be a one-or-the-other option: use the actions on the cards or collect command points. On the other hand, for the green cards, favouring the revolutionaries, command points are collected only when activating those cards. Afterwards, command points may be spent to obtain and trigger events across Budapest. Not easy to subdue a revolution.


Now, imagine, for a moment, that today is hétfő, Monday, 22 October 1956. It is night and you are at the University of Technology. The students are assembled and are discussing their demands. Tomorrow we will take to the streets!


23 February 2021

Days of Ire: Ep.3 - Designer insights

 


"The Hungarian Tricolours without the Communist emblem, now flying on many public and other buildings throughout the city, while orderly crowds carrying their flags and singing patriotic songs are moving about at will. Without controlling the Government they appear to have come as close to controlling Budapest as is ever likely."
Leslie Fry, Confidential Telegram, Budapest to Foreign Office, 25 October 1956


We continue the conversation with Dávid Turczi, focusing now on the development of Days of Ire and the challenges of designing games that might echo individual stories and memories.

Are you fond of History subjects, at large, and History-based games?
I always enjoyed historical topics, especially ones I knew some stuff about, so I can feel smart and "put it all in context". Twilight Struggle and some good cold war thrillers particularly instilled a love of post-WWII history in me. 

I don't play "simulation" wargames, I don't do hex-and-counters, and I prefer my excitement to come down to more than a lot of die rolling. That said, a good, well developed historical theme that might teach me some stuff, has a good chance of drawing me in, and then making me read Wikipedia afterwards. 


What was the motivation to design a game based on the October Hungarian Revolution, and the will to honour those who stood up, back in 1956?
It was the 60th anniversary in 2016. Zsombor Zeöld, a friend of a friend, worked at the Hungarian Foreign Ministry, and suggested we design a game (with him consulting on the historical tidbits) and get some government grants to publish it. 

The grants fell through (bureaucracy 😜) but at that point we were too invested in the process to give up, so ended up publishing it with my Maltese friends at Mighty Boards (initially known as Cloud Island).


When approaching such a subject, do you find time distance matters?
I was probably the least historically inclined of the team. My job was to make the game tight and the strategies matter. Yet, we were not far enough to look at things objectively, I still heard stories of people who said the game invoked tragic memories from their childhood, but they thanked us for the approach, so I'm happy we did it right.


Did you already had a thorough knowledge of the events or was a lot learned during game development? How was the research carried out?
I learnt some basic stuff in high school, read a book or two, had some discussions with my dad over the years, but I'm definitely not an expert on the subject.  It was Zsombor's job to create "historical tidbits" we can use in the game, and Mihaly's to integrate it. 


I find the games about recreating history to be conceptually more demanding, as they need to strike a compromise between history and a balanced playable board game. Can you give us some insights into the process of defining what elements would be in the game (such as places, events, actions, mechanisms, characters)?
Initially it was filling in the "interesting stories" Zsombor had for us, and the momentous events. Towards the end, it turned around, I posed gameplay requirements that Zsombor tried to "find a story for". We just kept asking each other "is there anything else we should mention?"


In many conflict games units and individual characters are “anonymous”, in others they have fictional identities, and still in others, such as Pavlov’s House, they represent real people and bear real names. Why the option to name the revolutionary fighters in Days of Ire?
We wanted to create that personal feeling, so you feel bad when you sacrifice a fighter. From a mechanical perspective they are literally meat shields, to boost your hit points, but that's not how real people in real conflicts think. So, we gave them characteristics and a name, to make you connect with them - "Remember when Károly saved the day by bringing us more molotov cocktails?"...

That said we didn't want anyone's grandma to be in the game, so we went with "inspired by". Most characters were representing some noted rebel, or someone who did one notable act before disappearing from the stage of history, but we changed all the names out of respect for the dead and injured. 


The mechanisms and the rule set are much more streamlined than, say, the “classical” wargames I grew up with, with their hundreds of counters, lengthy rulebooks, and a concern about time and space scales. One could say it is more event-driven than a typical combat simulation. What was the feel you were aiming for?
The card play of the Soviet side was inspired by Twilight Struggle, while the Revolutionary side was meant to be a "heavy Pandemic" alternative. Definitely not what you'd expect in a wargame, our different background shows here. 


The game incorporates solo and co-op modes, playing as revolutionary, and competitive, where one player controls the soviet and state side. Was this intended from the very start, or have the different modes emerged along the way? 
We started with the competitive. The solo/coop was designed specifically to mimic the feel of playing the Hungarian side against a live opponent. 


The game includes archive photos, history background info, plus the nice little touch of providing the phonetic writing of Hungarian names, and a colour scheme based on the Hungarian flag. Were these options for keeping the theme ever present and to foster the curiosity about the events?
That was Zsombor's good influence on all of us 😊


How long was the game in the making?
We started in the summer of 2014, the game got to Kickstarter in 2016 if I remember correctly.  It was almost a self-publish, since Cloud Island was just one person and some extra help at the time (David Chircop, with whom I later worked together on Petrichor), so we briefed the graphic designer, the artist, proofing, everything. I learnt a lot about publishing process from this, from our own mistakes and ways we fixed them...


Why the follow-up with Nights of Fire?
Brian Train, the designer of A Distant Plain was a backer, and he mentioned that he designed a small tactical urban wargame about "the next week" of the soviet retribution. So, I asked him to co-design the sequel with me, and I married his tactical approach with my euro-inspired card play and low luck/high choice decision making.


Any project, in the design pipeline or just lurking, along this line of work?
I have a non-historical conflict game upcoming, Defence of Procyon III (shipping in a few months), which is a 2v2 wargame with minimal randomness, and 4 completely unique factions. 


Thank you so much for your availability and kindness, Dávid!


Now we know a little more about Dávid Turczi, the person behind this and other games, and we just scratched the surface of game design, teamwork and the complementarity of roles, the hardships of publishing, the influence of previous games and the links to games yet to be, and the connections that are established. 

Time to move on. Time to go inside the box!


22 February 2021

Days of Ire: Ep.2 - Meet Dávid Turczi

From Dávid Turczi's profile, in BoardGameGeek

 

“While fighting was in progress at the Radio Building, the first Soviet tanks made their appearance in Budapest at about 2 a.m. on 24 October, and were soon in action. However, no official announcement was made of the Soviet intervention until 9 a.m.”
Report of the Special Committee on the Problem of Hungary, UN General Assembly , 1957


The first time I heard about Dávid Turczi, and I will not be alone on this, was most probably something related to Anachrony. And for good reason: this game from 2017, which last year made its way into my collection, has been a smash hit! But it would be utterly unfair to centre his achievements on this game only, for Dávid is a prolific designer, and this is one among many, published or in the making.

To mention just a few of his creations, and following no particular criteria, you may have heard of Petrichor, Trickerion, Venice, Rome & Roll, Dice Settlers, Kitchen Rush, Rush. M.D.. If you often play solo, as I do, or if you enjoy to game solo while learning a game, it is very likely that you have already faced one of his solo modes, designed for an even greater diversity of games.
Courtesy of Ludocreations

If you dig a little more, you may find [redacted], from 2014, a game I have not heard before doing some research for this series. It may seem a long way back, but that was just seven years ago! Those were the beginnings, featuring the same designer trio as in Days of Ire: Budapest 1956: Katalin Nimmerfroh, Dávid Turczi, and Mihály Vincze.

In all, an impressive amount of work in just about half a dozen years, bringing many hours of entertainment, joy, and hard thinking, for so many.

My first contact with Dávid Turczi came in the form of a Facebook exchange: he was preparing to move and was selling a copy of Days of Ire! By that time, I knew a little more about Dávid than about Days of Ire, and because my wish list was already long enough, I passed on the occasion. Or so I thought, as my interest on this game kept growing, and something remained lurking beneath the surface! And last November I ended up ordering it. At the same time, the main idea and concept for a series of posts was starting to take shape.

Then, a thought crossed my mind: “Wouldn’t it be great to get some designer insights on the motivations and on the approach to this depiction of a very special period in Hungarian History, the history of his own country?”. After all, Days of Ire, as well as Nights of Fire, are two of a kind within his portfolio.

Would this be possible? Not personally knowing Dávid, I have formed the impression, from watching interviews, playthroughs, and casual messages in Facebook groups, that he remains a very accessible person, always keen to share his opinions in a passionate way. Furthermore, there were some hints of a soft stop for Days of Ire and for Nights of Fire, and a genuine desire to make these more well known.

So, why not try to arrange an interview? Worst case scenario: a no-reply. Second worst case: a plain no. Not much to lose! Upon a preliminary contact, I ended up sending my questions between Christmas and New Year’s Day (!), in line with an overall framework used for previous interviews: some organised and broken-down written questions for written answers, as writing is my media of choice. Well, in fact, there were not just “some” questions, but a bunch of them … maybe too many, I thought, requiring a fair amount of time from a busy designer for a small audience blog… 

One single follow-up check and a short wait later, it all came together! By mid-January, the questions were answered, not without an apology for having taken so long to reply, while dealing with a lot of work and additional interview requests!

So, let us meet Dávid Turczi, in his own words and smileys!
 

Dávid, please present yourself in short, well, as short or as long as you please, and focusing or not on the boardgame-related side.
Hi, I'm David Turczi, I'm roughly 33 years old, I was born in Hungary where I lived for 25 years, then after a ~7-year stint in the UK I now live in the Netherlands. I used to be a software engineer (the boring, business kind) but I quit 3 years ago, going full time design/development. My favourite music genre is 70s progressive rock, I always play yellow in board games, but most of my T-shirts are black. Spinach is the best vegetable side. 


Have you always been a board gamer? Could you share an early recollection?
I started in University, around 12-13 years ago. Some people were playing Bang! for fun, which then developed into all-nighter Munchkin sessions. It all took a turn for the serious when I got Battlestar Galactica: The Board Game as a gift (since my love for the show was well known). My First Essen Spiel was in 2012, where I bought 14 games, increasing my collection over four-fold.  


Physical boardgames, digital or both?
I started physical, then went digital, then went back to physical, and I haven't left since. 


How did the transition from gamer to game designer, and to publishable game designer, occur? 
The third expansion for BSG [Battle Star Galactica] came out too slow. So, I had to design my own expansion. And playtest it to perfection.

Then one day one member of my gaming group, Mihaly Vincze came home from a holiday saying "I designed a game!" I just couldn't help myself, I had to help him. Joined by my partner at the time Kate, the three of us spent months (years?) polishing the game. We pitched it unsuccessfully to a few others at Essen 2012, but in 2013 I met the man behind LudiCreations - a then just starting out Finnish publisher - and he signed the game. We learnt everything on the job, and the game came out. 

Suddenly, we were the "first internationally published Hungarian designers" so a Hungarian company that was about to launch approached us for "advice". That's how I met Viktor Peter and Richard Amann of Mindclash, I showed them a time travelling game (called Paradox Factory at the time), and then we went on a multi-year journey that ended with Anachrony getting published and making me famous overnight 😊

First I got lucky, and then I worked for it 😊


Any lessons, thoughts, or stumbles, along the way you may want to share?
Be polite, adapt to others, but be shameless to show off what you're good at. 
Nobody cares what you can do if they don't know about it...


As a well-known designer, do you feel the pressure to “deliver”, and eventually to “compromise”, or do you feel you have now more freedom to pursue your own ideas?
I have a lot more freedom now. I don't have to come up with a game, spend months polishing it, set up 10 meetings, and then get rejected 11 times before somebody somewhere wants what I have (but needs me to work months more for it first). 

I just evaluate my idea (or as others would call it - take a shower), and then decide which publisher I want to call. I set up a meeting, I explain the idea, and if they like it, then I spend a few weeks creating a proof of concept, and then show that to them in a second, pitch meeting. Then I take onboard all their ideas, criticism, etc, but if the original idea was good, at this point they'll sign it probably, and from then on, it's all our problem. 

This means my bad ideas get shot down faster, my good ideas get improved sooner. And fame brings access to volunteers, which means I can get more done, with more hands. Sure, I need to compromise, and not "build my precious baby" each time, but that's just good common sense, cause designer eccentricities tend to make the game (even heavy euros I tend to work on these days) hard to publish.


Is there a typical day, as a full-time designer?
Alarm goes off at 8.25, read news, crawl to the bathroom, sit in front of my laptop by 9.30. 

If it's a meeting day, then probably be on google meets from 10 to sleep time (with a few breaks for lunch, my girlfriend arriving home, dinner, cat petting, etc). 

If it's a prototyping day then pop on some scifi series I've seen a hundred times and chop away at it with the printer, the scissors, and the cardboard. 

If it's a playtest day, then welcome playtesters between 10 am and noon, and then play games with them until six in the evening, in the company of some good takeaway food 😊

And then cycle through this, 5 to 7 days a week 😊


Which one fits you best, concerning game design and the development process: obsessively organised, organised, organised chaos, or plainly chaotic?
Organised chaos. I have a to-do list with priorities, I have a slack for each publisher, I have organized dropbox folders, and I have a google calendar strictly filled with not-to-miss meetings. But what happens in-between is magic, madness, and the will of the universe.


And now some quick questions about games you enjoy playing.

An “oldie” that sticks to your memory or that you even play now and then.
I don't play anything "that old" 😊 But games that are past the "hype of the new", I'd say Glory to Rome is still the best, other notable mentions to Caylus, Among the Stars, Eminent Domain.

An history themed game of your liking.
Sekigahara.
Imperial Struggle.
1960: The making of the President.

A solo game/mode that you enjoy, designed by someone else.
I never play solo.

The very last game you played.
Excluding playtests, it was Dawn of Peacemakers from Sami Laakso, a reverse-wargame wrapped in a lightish coop game. My last "crunchy euro" was Kanban EV, from Vital Lacerda.

A game that you are looking forward to playing soon.
I'm due to play the new version of Martin Wallace's Tinner's Trail, and I'm curious 😊


There is more to come from Dávid, as we turn the conversation into the design of Days of Ire, in the next episode.


21 February 2021

Days of Ire: Ep.1 - Serious stuff

 


"As a second year student at the Technical University in Budapest in October 1956, I worked for the Revolutionary Student Committee in the student dormitory where I lived. I also became a member of the National Guard. Though I was not a freedom fighter, like so many others, I also had remarkable experiences which rekindle uplifting memories on the 60th anniversary of the Hungarian Revolution."
Gyula Várallyay, Hungarian Review, Vol. XI., n.º 6, January 2017.


This is the first episode in a mini-series on the boardgame Days of Ire: Budapest 1956. Why a set of episodes, you may wonder? Well, as there are different angles to share, one single post would either be way too long for nowadays standards or would provide insufficient coverage. So, this a compromise, allowing readers to embark and to leave this journey at will, to retrace to previous content, or to engage in their own explorations, while maintaining a proper pace and sequence.

7 days, 7 posts, covering the game itself, how it ended up in my collection, some side stories, designer insights, gameplay, and the underlying History.

Those who have been following this blog may notice this is, in fact, the second series. In late 2019, inspired by the components and mechanisms of the boardgame Newton, and by readings on the history of higher education, I travelled across the Europe of the late 17th century. The resulting Quest for Knowledge is a ten-episodes short fictional work, a first-person travel account, mixing glimpses of History with elements of the game, hence a very different take.

It is now time to put on some sturdy boots, jump back in time to 1956, and hit the streets of Budapest, the Hungarian capital. Our guides for the journey will be three Hungarian game designers, Mihály Vincze, Dávid Turczi, and Katalin Nimmerfroh, inspired by the events which took place from 23 to 30 October that year, a popular uprising against the soviet-backed ruling power, which became known as the October Hungarian Revolution.

Days of Ire: Budapest 1956 was originally published in 2016, precisely 60 years after the Revolution. In the game, you may choose to take part on the revolution, either solo or cooperatively with fellow revolutionary players, facing a virtual opponent. Or you may choose to engage in a 2-sided confrontation, where revolutionary players will face a single player in command of state and soviet forces, seeking to suppress the revolution and reinstate state control.

This is a game about conflict. It is a game rooted in History, based on real events lived by real people, not that far away in time. Events with dire consequences for those involved: injury and death, imprisonment, exile. Events whose consequences for the Hungarian society and abroad had long-lasting and far-reaching repercussions on both sides of the Iron Curtain.



This is serious stuff. 

And gaming about serious stuff might be controversial.

After all, “to play” is most often associated to feelings of joy, even if tempered with some competition and mild conflict, and not with suffering and destruction. The very concept and rise of the so-called Eurogames is deeply rooted on an intentional move away from game elements such as open direct conflict, opponent targeting, and player elimination, coupled with increased importance of process over theme. 

And yet, there is a long-standing stream of wargames and other conflict games, simulating, or recreating, struggles, fights, and wars, over time. Furthermore, such games often allow players to take an active stance on different sides of the conflict. This genre of games will not appeal to everyone, and that is Ok! Just the same as military history books, war movies, and alike. Some players may treat these as any other games, in a sort of an abstract way, seeing only tokens and abilities to be used in the pursuit of victory, without any immersion whatsoever. And that is also Ok! People seek different sorts of experiences at the game table, considering their own preferences and perspectives, the playing group, and even the moment. 

These considerations could be extended to a much broader range of games, having in common themes that have affected, or are still affecting, the lives of others and maybe even our own lives. Some examples involving different kinds of decision-making (that I know of, but have not played yet) are: This Guilty Land, dealing with the political struggle over slavery prior to the American Civil War, putting face to face Justice and Oppression; This War of Mine, where you are a civilian making the best to survive in a city ravaged by war, with a range of associated moral dilemmas; Article 27, bringing to the table national agendas, common agendas, and the trade-offs of international policy making, with the UN Security Council as setting; The Cost, about running the asbestos’ industry, with workforce deaths factored in; Healthy Heart Hospital, and the health care management. Many economy-based games, where maximum profit is the ultimate goal, or those dealing with national expansion and colonisation themes, could be added to this list.

For more on this, you may read, among others, “Designing for Difficult Subjects”, by Chris Bennett, from the The Game Design Thinking Research Group, Stanford University.




So, what is my take on all this?

Well, wargames were probably the very first complex games I played, in my teens, way back in the late 1970’s-early 1980’s. With scenarios mainly set in WWII, and titles such as Panzerblitz, Air Force, Operation Barbarossa, and, later, Squad Leader. In plus, there were some attempts at wargames with miniatures. And other conflict games as well, as Diplomacy, the most stressful game I ever played (apart from competition chess, but that is another ball), vying for supremacy in a pre-WWI Europe, negotiating openly and in restricted groups, making alliances, eventually breaking them while deciding movements in secret, along four or more hours of play.

As for the appeal? I find that it comes in layers, or in waves. 

There is the underlying history context, unfolding at your table, with events being recreated while incorporating your own decisions. A sort of passive-active dilemma, being both an observer and an actor, trying out what-ifs, understanding real-life outcomes, so often making winning or losing a secondary factor.

Then, there is the simulation side, that feeling that those places are real, as real are the characters and abilities, factor movements and ranges, equipment and weaponry. All these elements, in greater or lesser detail, exist, or have existed. They are a product of detailed research rather than of imagination, extending your reality.

In terms of game play, there is strategy and tactics, organizing and deploying units, factoring in their specific characteristics, the terrain, the weather, the availability or not of reinforcements, the ticking clock, the chains of events. These are usually asymmetric games in nature, as there are no real level playing fields. And you may experience it from different perspectives, different sides of the battlefield. The objectives may be manifold, as keeping foot on a stronghold, surviving time enough to the arrival of reinforcements, capturing a hill, protecting a bridge, ensuring supply routes, delaying the opponent. And, accordingly, there is a palette, or a gradation, of winning conditions, including partial wins and defeats. This is rarely about checkmating your opponent. 

Furthermore, these games feature complex patterns of incertitude, not randomness, related to the unknowns, the fog of war, the shifting morale of your units, even political events occurring outside the board.

Granted, these are stripped-down versions of actual conflicts and wars, seen mainly from a HQ perspective, in 3rd person – well, you may come down to individual characters, with their unique features, in small scale tactical and campaign games - with no civilians around, no lasting impact on those at war, and to be played in the comfort of your living room. And you will go back in time again and again, relieving it, repeating the experience, acquiring and using new knowledge, as if moving in parallel worlds, instead of the real one, where you would have only one shot, one opportunity, a tiny distance lying between life, harm, and death.

These are just some musings from a long-time gamer. Each player will have a unique approach to a game, to these games, just as different people will take away different things from the same books, movies, or music, and will surely experience feelings and emotions quite different from those experienced by their authors.



Days of Ire is not a hex and counter simulation, full of combat and movement charts. It is a rather more fluid creature, where movement, resource management, capabilities activation, and timing, are of paramount importance, in this street conflict of David against Golias. 

Why is this so? What was factored in and what was set aside? 

Well, games are imagined and created by real people, with their own history, perspectives, preferences, motivations, and approaches. What better than to meet a designer, become a little bit more familiar with his work, and learn first-hand about all this, up close and personal?

Join me tomorrow for Episode 2!