26 February 2021
Days of Ire: Ep.6 - The fate of the revolution
25 February 2021
Days of Ire: Ep.5 - I joined the revolution!
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.
24 February 2021
Days of Ire: Ep.4 - At the table
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.
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.
23 February 2021
Days of Ire: Ep.3 - Designer insights
22 February 2021
Days of Ire: Ep.2 - Meet Dávid Turczi
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| From Dávid Turczi's profile, in BoardGameGeek |
21 February 2021
Days of Ire: Ep.1 - Serious stuff
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.
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?

