The wargame as master's thesis and other explorations into the ways wargaming and higher learning intertwine. Several months ago a conversation flaredup on Consimworld responding to a question as to whether or not war games were acceptable formats for a graduate thesis in history. As a denizen of the academic world where publish or perish is more than a cliche, as well as being a war game designer, this topic attracted my personal and professional attention. Historical research in the academic field shares several elements in common with the design process and getting a war game published. The following criteria are essential, however, in order to be considered worthy of scholarly consideration; The work uses primary source material, in whole or considerable part, as the basis for research. The work contributes to widening the field of knowledge and/or understanding of the historical event. The research can be replicated/ verified by other historians and interested parties. The end-work can be shared with others. The end-work is peer-reviewed. This list is not, to be sure, a complete one but does summarize key elements when undertaking a thesis. Students who wish to earn an advanced degree in history are generally required to produce a work that includes these salient features. A proposal is generally submitted to a graduate committee or history department Chairperson who then interviews the candidate. Past research and writing should bear out the student's ability to complete the thesis. Thesis proposals include the following: A survey of the literature to show the need for new or continued research on the topic. Historical events that have received little or no research previously will generally be more welcome than ones that go over ground already well-traveled by other historians. The identification of past treatments, both monographs (books most often) and serials (articles), as well as other historians who have dealt with related events, are required to demonstrate the student's previous work, experience and knowledge. An outline of potential sources, again preferably primary, that will be used in the research, usually in annotated form. This may require letters of confirmation that the student will have access to rare books and/or closed collections, as well as a schedule for travel if the sources are not close at hand. A description of the final product (number of chapters and/or an outline, as well as possible illustrations) and a "thesis statement" that succinctly states why this work is needed. After months, sometimes years, the student's thesis is only accepted after a grueling series of edits and one-on-one sessions with a thesis advisor. Once accepted by the advisor the student then must present and defend the thesis to a larger body, usually other history faculty members that could include the Dean of the college. Success results in matriculation and the award of an advanced degree. Failure means more work. The process by which a game is designed and accepted for publication is not dissimilar. By their very nature, quality war games deal with history and are the result of much research and personal interest by the designer. Most publishers require an extensive interview process where the designer's proposal for a game is considered carefully before a commitment to publish is made. Many publishers have other designers, gamers, even subscribers review and offer feedback on proposed titles before giving a thumbs up or down. Granted, the ability to make the publisher money is the driving force in war game publication, but uniqueness of topic, quality of design, research and prior experience, as well as presentation (graphics are a big part of this, but writing and communications skills figure prominently here) are key to success for any designer's proposal. Quality games can be subjected to much scrutiny and editing, not unlike that undergone in the review of graduate work with a thesis advisor or graduate committee. The final war game should be the product of much thought and editing by play-testers, product developer and graphic artist. What many designers and publishers do not address are those elements that insure the quality of historical research and its documentation. This writer would recommend for the reader's consideration the following in order for a war game to merit scholarly consideration: Inclusion of a bibliography listing all of the sources consulted in the research and design of a war game by the designer. If this is annotated, giving reasons why this particular work or author was used over another, so much the better. Needless to say the more primary sources that are included the more confidence players will have that the game does reflect the history the game models. It is interesting and heartening to note that a recent trend has seen an increasing number of war game publishers including these bibliographies as part of the game rules. The development and play-test team should include a historian, with an advanced degree, who is familiar with the event portrayed in the game. Citing this person's work/research/qualifications in the designer's notes is recommended. Listing all those involved in the development, editing, and play-testing of a game is also highly recommended. Just as in the development of a thesis, a war game is the result of many insights and much reflective analysis. Those involved with this process should be recognized. A descriptive account of the history portrayed in the game, and what aspects of the history the design incorporates, should accompany the work. This can be in the form of designer's notes, or even a separate article. The focus and intended audience of a game should also be clearly set forth by the designer. Introductory or smaller games geared toward children and young adults have differing challenges and goals to meet in portraying/teaching about history than ones geared for veteran "grognards" or "monster" games that are meant for in-depth analysis. This is not unlike the distinction made in historical books and articles for similar audiences. Likewise, having a design that clearly sets the role of the player in a game, be it that of Caesar or a Pilus Principus, Eisenhower or an NCO, will also offer a clear focus to the gamer of what history is being modeled. Some may see these proposals as just another means of "show off' marketing, or a designer blowing one's own trumpet. However, quality research and publishing demand that those involved be recognized so that the reader/gamer can properly analyze and interpret the work. Anti-intellectualism is never pretty, and even more so in such an intellectual hobby such as war gaming. It is through a process of peer review and criticism that ultimately war games can become "validated" as a format worthy of academic recognition. Publishers can further the recognition and identification of war games as the products of scholarly endeavor. Listing other games, articles and books in history by the designer somewhere in the game's rules is not boasting, but rather lends credence that the person who designed the game is knowledgeable of the events portrayed in the work. Reviewers as well can and should identify past works of historical research, in whatever form, by a game designer. Describing how well, or badly, a game portrays the history in a game, and comparing and contrasting the designer's thesis in the game with that in other works on the same topic, is valid and can be entertaining as well as thought-provoking reading. A May 2001 poll on Consimworld showed that 75% of gamers who participated read works related to the history portrayed in a war game. [Krantz] It is not unreasonable to conclude that a significant number of those in the hobby enjoy learning more of the history they are gaming. Using these games as a means to further the knowledge, understanding, and appreciation of history is occurring for many already. This is also a key objective in scholarly publication and research. Taking this a few steps further, it is this writer's recommendation that awards be given to those games and designers that best exemplify how war games can be used in promoting the increased understanding and appreciation of history. Awards are given for best game graphics, best in a particular historical era, as well as best in a particular publication format (DTP, boxed or magazine for example). Why not best game for classroom use? Best historical treatment or insight by a game? Best educational or instructional support using a war game? It is also recommended that award committees have at least one member, preferably more than one member, with an advanced degree in history. If historians are involved in the process of reviewing, recognizing, and using games in education, then the recognition that war games are legitimate forms of historical instruction/presentation will likely increase. This is not an apples vs. oranges issue if the focus is on history, not on form. That is the bottom-line thesis of this article. We should be less concerned with the format; be it book, software, board game, or article for teaching and understanding history than with how the research has been done, and the efficacy by which the historian/designer has communicated and fostered the appreciation of that history. In his analysis of war games used in a classroom setting, Hubert Van Tuyll wrote "Adoption of occasional simulation would be a far less radical step, especially if it succeeds, in stimulating students' motivation levels, empathy with historical actors, and insight into the historical process." [Van Tuyll[ Historical publication is the result of research and the historian's interpretation of the facts of the history. What is important is that the reader is able to discern the methodology used in the research, the author's bias and thesis, as well as being able to verify that what is portrayed is accurate and based in fact, not fiction. Quality historical publication also invites the reader to reflect on the history and encourages one to learn more. Quality war games can do this. While games do encourage players to alter or "change history" through their play, the game design, components, rules, as well as the game play can impart an increased understanding of why and how the historical event "played out." While a picture can be worth a thousand words, a fun and enlightening game session can speak volumes in teaching the history depicted on the gaming table. ADDITIONAL READING Academic Gaming Review Peter L. deRosa editor [internet publication]. The AGR publishes freeware educational simulations, articles on using classroom games, course materials, and web site and game reviews. http://www.gis.net/~pldr/index.html Allen, Thomas B. "Little Wars." In Military History Quarterly, volume 6, number 4 (1994), pp. 62-71. Arnold, Thomas. "Make Your History Class Hop With Excitement: Designing and Using Classroom Simulations." In History Teacher, volume 31, issue 2 (1998), pp. 193-204. Glich, Stephen P. "War, Games, and Military History." In Journal of Contemporary History, volume 18, number 4 (1983), pp. 567-582. Kranz, John. "What percentage of consim games do you play while reading on the topic concurrently?" Consimworld Poll #15 [internet publication]. http:// htmlgear.tripod.com/poll/control.poll?u=jo hnkranz&i=15&a=vote Moore, Jamie W. "Simulating History." In Social Studies, volume 72, number 4 (1981), pp. 188-190. Perla, Peter. The Art of Wargaming: a Guide for Professionals and Hobbyists. Annapolis: Naval Institute Press, 1990. Van Tuyll, Hubert P. "Simulations in the Teaching of Diplomatic and Military History." In Proceedings and Papers of the Georgia Association of Historians, volume 14 (1993), pp. 131-140. Back to Table of Contents -- Against the Odds vol. 2 no. 2 Back to Against the Odds List of Issues Back to MagWeb Magazine List © Copyright 2003 by LPS. This article appears in MagWeb.com (Magazine Web) on the Internet World Wide Web. Other articles from military history and related magazines are available at http://www.magweb.com * Buy this back issue or subscribe to Against the Odds direct from LPS.