Burden of Command - WW2 tactical leadership RPG - coming Q1 2025

[Taka-Haradin puolipeikko]

http://burdenofcommand.com/the-heart-of-war

Many engaging games have war’s trappings but do they have its heart? For example, In Call of Duty, the battlefield is visceral and your squad mates human. But with its near instant restarts, your death is only an inconvenience. Given the high rate at which you personally off endless enemies, their deaths soon become a simple power trip. In other games, your generalship but not your humanity is tested as you dispatch historically accurate “units” at an abstract distance.
In Burden of Command, as in Band of Brothers or This War of Mine, death is not an inconvenience, not a power trip, but a burden.
Men fear death. This dev blog is about the mechanics of how you’ll overcome that fear to provide leadership on an emotionally authentic battlefield.

Death Here is Thy Victory

Step into the open unprepared in Burden of Command and you and your men will swiftly become casualties. Burden of Command features Permadeath. When men die they stay dead. Their lives are your burden. There is no “plot armor“ for your young lieutenants.

Learn the Art of Suppression

To keep your men alive you must first learn to suppress the enemy. Unlike many games, tactical success is not about marksmanship, it is about fear. Because men fear death they take cover when bullets fly. As a consequence, casualties from small arms fire are low. In WWII approximately 8000 bullets were fired per casualty inflicted. In addition, when men take cover their own marksmanship drops dramatically (it’s hard to aim when you’re fearing for your life).

In Burden of Command the fear of death is represented by Morale. High Morale units do as commanded. Like firing at the enemy.
Low Morale units do not. A squad with ten Morale has a 100% chance of doing what you order. A squad with five Morale has a 50% chance, a squad with one Morale, a 10% chance, and so forth. Firing at the enemy lowers their Morale. This effect is called Suppression.

Your goal as a battlefield commander is to maintain your unit’s Morale while suppressing the enemy. On real battlefields firing goes up when the ‘boss’ is near. Similarly, in Burden of Command, you and your subordinate leaders’ Command Presence (stacking a leader with a unit) increases Morale. Further you can Rally men (which removes suppression) as well as Direct Fire to increase Suppression on the enemy.

However, unlike many other games, even those with Morale, Suppression does not cause units to surrender or rout. Imagine seeing a stream of machine gun fire going over your head. Would you stand up in the face of it to surrender or run? Chances are, you wouldn’t, and most soldiers wouldn’t either.

To get the enemy to surrender you are going to have to close with them and assault.



“Fear of the Bayonet”

Only psychopaths want to fight hand to hand. In his fine book Brains and Bullets Leo Murray estimates that left to their own devices fewer than 20% of soldiers are willing to commit to a hand to hand assault. It will be your burden as a leader to motivate that other 80% into finishing the job.

Win Hearts: Trust

In Burden of Command the effect of your morale improving actions like Rallying, and Command Presence will be based on your men’s Trust in you. How do your build your Trust stat? By taking risks with the men. Every time you put your own life on the line alongside them, they take note, and your Trust increases. Of course, doing so means risking Suppression, wounds, or even death. It’s a tradeoff.

If you have gained Trust and lead the assault your Command Presence will make it more likely to happen. According to Brains and Bullets a “low authority” (Trust) leader can double the chance that those under his command will follow him in an assault. A “high authority” leader can more than triple that chance. Will you take the risks needed to earn that level of Trust?

Lead by Example

Trust is not always enough to get men to take terrifying actions like engaging in hand to hand combat. Sometimes you must lead by example. I recall once being at the scene of a bloody bike accident. Everyone froze, implicitly looking to someone else to take action, to lead the way. This common phenomenon is known as ‘diffusion of responsibility‘. However, once someone finally did take action, everyone swiftly joined in. This is “leading by example.”

In his book on Omaha Beach on D-Day, our advising and playtesting historian John McManus describes how Colonel Taylor stood up under truly withering fire and shouted to the prostate soldiers around him “There are two kinds of men out here! The Dead! And those about to die! So let’s get the hell off this beach.”
You may remember that quote from the film The Longest Day, or how Captain Winters in Band of Brothers stood upright under machine gun fire, kicking soldiers in the rear and urging them up to assault. Their real life examples raised morale and led to victory.

In Burden of Command this is represented by a special leader action called Grandstanding. It can get Suppressed units back on their feet for the assault. But in doing so, you may risk losing Trust, becoming suppressed, or even killed…

Your Heart

We’ve discussed how you can take on the Burden of Command by leading through Rallying, Command Presence, and Trust. How you can overcome the dark heart of battle: the fear of death. But unless we create empathy, we will fail to make you personally feel the fear of death for your men, the emotionally personal Burden of Command.
We want to make you hesitate to order that assault, not because you fear losing a powerful “game unit,” but because you don’t want to lose Lieutenant Dearborn.

Next time we’ll focus on the artistic, narrative, and historical devices we use to create that empathy. The second part of the emotionally authentic experience that is Burden of Command.

 

[Taka-Haradin puolipeikko]

RPS Flare Path interview.
https://www.rockpapershotgun.com/2017/11/17/the-flare-path-emotionally-authentic/

The Flare Path: Emotionally Authentic
By Tim Stone on November 17th, 2017 at 1:00 pm.

Spoiler

RPS: How are you hoping to achieve “emotional authenticity” in Burden of Command?

Luke: By making it first and foremost a human experience rather than a tactics and strategy experience. Thanks primarily to permadeath, death has real significance in Burden of Command.

Permadeath matters not just because your player character might die but because as a leader you have to think about your NPC lieutenants and enlisted men’s deaths. You will have to consciously send men you’ve grown to like and respect into harm’s way. If they don’t come back, you can’t just reload and bring them back. Time and again vets on the team, including ones with combat tours behind them, have emphasized the importance of this aspect of command. What we call Men versus the Mission. This War of Mine, Darkest Dungeon, XCOM and of course more traditional roguelikes have employed this mechanic, but here we use it to make you think about the virtual lives you hold in your hands, not just your own.

Of course if you don’t give a damn about them and view them only as sprites this will fall a bit flat. So as a second technique we use ‘choose your own adventure’ like leadership moments. These seek to focus you on the Burdens of Command by presenting you with tough and often very historical choices. Not only Men vs Mission but for example, your men versus say the fate of other men (e.g. do you hold the hill at terrible cost so a different company is not outflanked?) What about the lives of civilians caught in the crossfire? Or even those of the enemy when the opportunity for perhaps too needless a slaughter is offered (like the still debated Highway of Death in the first Gulf War). When is it right to offer up your own life, ending your avatar’s career?

Context-linked character outbursts (“barks”) and the wonderful portraits created by Mariusz Kozik regularly appear on the screen further humanising your troops.

Finally, we try to center the tactical battlefield mechanics around human psychology: Morale, Suppression, Trust, Respect, Experience, and what might be called of the natural human “fear of death.” We try to create emotionally authentic battlefield mechanics.

RPS: Computer wargames have got by with simple morale variables and leader proximity buffs for decades. Why go deeper?

Luke: Why is a wargame experience only about tactics? The founding father of tactical wargames, Squad Leader’s John Hill once wrote:

“Squad Leader was a success for one reason: it personalized the board game in a World War II environment. Take the “leaders,” or persons, away from it and it becomes a bore. Though this may sound surprising, the game has much in common with Dungeons & Dragons. In both games, things tend to go wrong, and being caught moving in the street by a heavy machinegun is like being caught by a people-eating dragon. Squad Leader was successful because, underneath all its World War II technology, it is an adventure game, indeed Dungeons & Dragons in the streets of Stalingrad.”

Since then we’ve largely lost sight of his insight and left the roleplaying and emotional experience to the dice (“Snake Eyes! My squad just went berserk right as you charged across the street.. Oh man it just took out… etc, etc”). Close Combat digitally went significantly further with psychologically modeled soldier sprites. Unfortunately the sprites died so quickly you never had time to form the emotional connections like real bands of brothers do.

Why not take John Hill’s D&D analogy seriously? What we do first is attempt to put you in the boots of an infantry captain in World War II. That’s why we brought in historian John McManus, have many vets on the team, and even hired an archivist to go into the US National Archives and retrieve actual after action reports written by the captains and lieutenants who were there at the time. We’re hoping that by emphasizing the personal emotional experience of being a wartime leader, with all the responsibilities and emotional burdens that entails, that we are doing a more authentic war game, not a less authentic one. Just like how This War of Mine conveyed some of the emotional experience of being civilians in a war zone.

That being said, “simple morale variables and leader proximity” go a darn long way on the tactical side. But in the 30 years since John Hill there has been a lot of fine thinking in tactical board games as well as digital ones (Steel Panthers, Close Combat, Command Ops, anyone?). Standing on the shoulders of those giants especially those in the boardgame space we believe we can emphasize even more emotionally authentic tactics and aspects of battlefield leadership. For example, many many tactical games both cardboard and digital focus on firepower even if on the surface they appear to focus on morale.

Typically you repeatedly fire at an enemy unit until it “breaks” and “routs” or is otherwise removed from the map through firepower alone. Firepower equals the “kill.” A fair statement for artillery but much less so for small arms fire. On real battlefields soldiers who weren’t panicking kept their heads down because they didn’t want to die. Would you stand up in the face of active machine gun fire to surrender or run away? I wouldn’t and they didn’t. Hence in WWII it took something like 8000 bullets to inflict a casualty. So instead you’ll need to close to assault a suppressed enemy.

But real warriors are usually reluctant to engage in hand to hand fighting. Leo Murray, the author of the superb book Brains & Bullets, estimates that left to their own devices fewer than 20% of soldiers are willing to commit to a hand to hand assault. It will be your burden as a leader to motivate that other 80% into finishing the job. For that you’ll need to have earned their trust by risking your own ass with them under fire. You can see how the human factors built on and off the battlefield come back to play a role in tactical mechanics.

I go into more detail on the mechanics of suppression, trust, and so forth in my latest dev blog.

RPS: War is a cruel, capricious creature so, surely, games that represent it accurately must be cruel and capricious too?

Luke: Random death was of course pervasive in World War II, and officer casualty rates were high. What you might call the all too real “physical authenticity” of the battlefield. So shouldn’t we just have your or your officers randomly die with frequency to be authentic? Well, two answers, first the casualty rates dropped significantly if you had battlefield experience. A lot of the casualties came on the first day or even moments of battle before soldiers had learnt to keep their head down, read the terrain, etc. Secondly, and perhaps more subtly, I think we need to juxtapose physical authenticity and emotional authenticity. Real soldiers form emotional bonds. Good leaders are often like fathers to their men, shepherds. And real soldiers have lots and lots of time off the battlefield to form those bonds. Remember the saying “war is 99% percent boredom and 1% sheer terror”? Well unless we plan a boredom simulator (probably not a sensible move from a sales perspective), we have to capture that emotional authenticity by reducing capricious death sufficiently to allow you to develop the emotional connection with your men that is part of the reward and burden of command.

All that being said if you insist on wandering around in the open in front of unsuppressed machine guns then yes you will experience the capriciousness of war. And sometimes even if you don’t act with folly. Though typically we’ll wound you and put out of action if you’re following good tactics rather than just kill you outright. Everyone is subject to permadeath in Burden of Command, including you. But we lighten up on the pedal to create the time for emotional authenticity and thereby an engaging gameplay experience.

RPS: Do you think games about war can glorify their subject thereby making real wars more socially acceptable?

Luke: As Robert E. Lee once said, “It is well war is so terrible or we should grow too fond of it.” Many wargamers, myself, among them, have sometimes felt concerned that, as I believe you once put it, we are playing in a graveyard. That we extract and focus on only the intellectual challenge of generalship and or the excitement and ‘glory’ of a well fought tactical battle. Similarly it is clear many people feel disquiet at the “power trip” that the endless offing of the enemy in a first-person shooter like Call of Duty creates. There is a place for the study of strategy and tactics and a place for escapist fun but there is also a place for an engaging experience touching on complex realities. The sales of games like This War of Mine – which explores the harsh realities of civilian experience in a warzone – suggests players of all kinds and not just wargamers might welcome engagement just as much as “fun.”

Interestingly I have never felt any disquiet working on Burden of Command. Quite the opposite, in fact, that perhaps we are doing some small service by showing respect for the realities of war and the burdens of leadership. Interestingly we have many vets on the team and among the playtesters, including some with combat experience, and while they are quick to point out that no game can really touch directly on the reality of combat, they also feel that Burden of Command, by being respectful of the emotional and leadership burdens of the real experience might do a service. Much like Band of Brothers, or American Sniper, if done well we can gain not only a sober sense of the challenges of war, but also a respect for those who endure it on our behalf. In short we can take away not the “glory of war” so much as a respect for those who serve and those who have served. Men like the Cottonbalers, the focus of our project.

RPS: Tactical wargames like BoC obviously can’t show the disturbing visual reality of war but they could offer aural authenticity. Will there be F words and nerve-chafing screams in the game?

Luke: There weren’t going to be until you suggested it, Tim! But honestly, it’s an excellent idea. Our current plan is to have the writers Allen Gies and Paul Wang write many textual “barks” that trigger dynamically by situation and personalities involved to draw you into the “emotional action.” This War of Mine did a fine job on this. But if we can afford to do it on the auditory side for certain background human sounds like you suggest, that might be powerful.

RPS: I understand you’ve played the new CoD. If you’d been in a position to boost its realism in any single area prior to launch which area would you have chosen?

Luke: I’d have added respect for death. CoD does a remarkable job visually and with human characters setting the stage of war but then it pulls its punches through gameplay mechanics.

Right now in CoD your own death is only the inconvenience of a near instant reload. The NPCs around you are generally protected by “plot armor” meaning they have to stick around for the extended plot to be realized and the very expensive voice acting not to be wasted. Like Darkest Dungeon or This War of Mine I’d suggest taking the risk of giving it permadeath. Similarly, how can you experience the weight of war if your decisions can’t get others (the NPCs) killed? Look at how much players bond with the fanciful soldiers in XCOM or Battle Brothers. This comes back again to the core burdens of command, your irreversible responsibility over the life and death of others. Of course making such changes would mean a lot of other design changes for CoD (like procedural “levels” to make permadeath acceptable like in a roguelike). Not an easy task. It is our good fortune that we built Burden of Command from the ground up with emotional authenticity in mind.

RPS: The term ‘hero’ seems to be everywhere these days. Will there be heroes in Burden of Command and how will we know them when we encounter them?

Luke: Too often the a hero in a gaming context is someone who dispatches endless enemies with dramatic skill. In his book On Combat Colonel Grossman talks about certain men being “sheepdogs” meaning they see their role by contrast as the protection and welfare of others. Such men often make good leaders, like Captain Winters in Band of Brothers (a personal hero of mine). I always remember that scene where Winters decided to falsely attest to his superior to having sent out a second canal patrol at the end of the war to spare needless loss of life. However, I also remember many times where he had to order attacks that would likely kill men he respected and cared about because of the responsibilities of his role. In Burden of Command we similarly want to give you a role where you decide how you balance your mens’ futures versus your moral responsibility for the mission’s success. Where you have a chance to be a different kind of hero.

RPS: Does your knowledge of neurophysiology and psychology influence the way you design?

Luke: I tend to think about game design from the mindset of the “biological basis of behavior.” When Sid Meier says “games are a series of interesting decisions” I’m immediately thinking “what the heck is an “interesting decision” in biological terms? Well animals assess the world constantly in terms of “threats” and “opportunities.” I remember once watching a seagull I’d thrown some bread to… bread I threw deliberately close to me. It kept dancing into range of the bread (“opportunity!”) and then dancing back as it saw me too close (“threat!”). That seagull was dancing on the cusp of an “interesting decision.”

Guess what. Our biology as gamers isn’t any different. So when we realize in XCOM that if we move into the building this turn we’ll get to destroy the objective before the clock runs out (“opportunity!”) and then we realize there are probably Xenos hiding in the building (“threat!”) we suddenly find ourselves hovering on the cusp of an “interesting decision.” So in Burden of Command I try to make sure most tactical decisions involve an opportunity and a threat. Or at least two equally enticing opportunities where you get to pick only one. There the threat is the opportunity cost of the choice not taken. I push the writers to think similarly for the Choose Your Own Adventure decisions.

RPS: How have you prepared for your first foray into computer game design?

Luke: Well, I’ve sat at the feet of many virtual mentors during the past year. I’ve spent a lot of time watching Game Design Conference (GDC) talks on YouTube, listening to game design podcasts (shout out to Three Moves Ahead, Ludology Podcast, Dirk Knemeyer’s Game Design Round Table), and studying game players feedback in forums. I also spent a lot of time analyzing successful digital designs outside of wargames (XCOM, Crusader Kings 2, Banner Saga, This War of Mine, etc) to try to make myself think out of the (game)box about the wargaming genre. Then I read through all of William Bernhardt’s books on writing (the Red Sneakers series) to get myself educated on narrative design. We’re at a very fortunate time in the game industry when so many brilliant people are sharing their insights virtually. Finally I brought to the team of series of outside advisors and experts like Chris Avellone, Alexis Kennedy, William Bernhardt, well-known artists and more to advise us on good and visually appealing game design. So, well, we’ve been doing our homework. If our design falls short it won’t be from lack of trying!

RPS: Thank you for your time.

 

[Makabb]

There is one game they should look inspiration for

 

[Taka-Haradin puolipeikko]

http://burdenofcommand.com/blog

This is VAR 1st_officer, one of the components of your company in Burden of Command. Any squad that-

I’m sorry. Let me start again.

This is Edgar Gaines Thompson, the son of two schoolteachers from the small town of Piedmont, South Dakota. He was set to follow his parents’ footsteps when Pearl Harbor was attacked and the United States entered World War Two. Imbued by his parents with a strong sense of morality, he saw it as his patriotic duty to volunteer. A quick learner and a hard worker, he was quickly picked out as officer material. Still eager and bright-eyed, he takes command of 1st Platoon. His optimism and courage quickly makes him popular among his men, though some of your veterans shake their heads. They know that idealism rarely survives a trial by fire.

Perhaps he will return home to Piedmont with his idealism intact.
Perhaps he will end the war as an embittered man, old before his time.
Or perhaps he will end his young life on some nameless hill in Sicily, or Alsace, or Bavaria, his chest ripped open by shrapnel or his temple marred by a bullet wound, his hopes and dreams spilling out onto a soon-to-be forgotten stretch of soil far from home.

My name is Paul Wang, junior writer on Burden of Command, and I’m here to talk about building empathy.
When you play chess, do you care about your pawns? Do you agonize over sacrificing them? Or do you see them just as means to an end?

In 11Bit Studios’ This War of Mine, you also have pieces – a group of refugees – and a board – the fictional war-torn city of Pogoren. However, because of the way that the game builds empathy between the player and the characters they control, the player can’t sacrifice their “pieces” to win like they would in a game of chess. The question of how to achieve the win state (surviving until the end of the siege) becomes more complex because the player begins to identify with the characters, thinking not only of their own victory, but the well-being of these beleaguered, relatable, but ultimately fictional souls.
The player might find themselves weighing the emotional cost of forcing a character to visit suffering on others for the sake of obtaining much needed medicine or putting their characters at risk to “be a hero”. The nature of the win state itself changes. Is winning a matter of pure survival? Or is it better that they make it out with clean consciences that will let them live with themselves afterward?
The player begins thinking less like someone playing a game, and more like those who are trapped in a ruined building in a city filled with chaos.

Burden of Command is This War of Mine seen from the other side. Building bonds of empathy towards the characters under the player’s command serves to turn them into more than little olive drab men on a map. In return, as the player starts to empathise with their company, they begin to feel responsible for their well-being. They begin thinking of the win state not only as a matter of taking the objective, but as a matter of bringing as many of their boys home as possible.

They begin thinking like a Company Commander.

The question for a writer then becomes which characters to focus on building empathy with. Generally speaking, the average player can maintain empathic bonds with anywhere from half a dozen to a dozen characters. Anything more and things get dicey — after all, these characters have to compete for attention with a player’s real family members, friends, loved ones, and co-workers. Anything beyond those dozen characters, and players will start forgetting names, faces, and uttering the eight words no writer wants to hear: “I don’t care what happens to these people”.

A US army rifle company in 1944 had a total paper strength of 193. Realistically, we couldn’t make every single one of them into an empathetic character – players would lose track. We had to decide who we would build our core relationships around.

The four platoon leaders in the player’s company are the conduit to the nearly two hundred men under their command. These men also carry their own burdens of command, but as their superior, the Company Commander (and by extension, the player) also holds the power of life and death over them in turn. They represent the burden which the player must carry in keeping their men alive and well.

In his Red Sneaker series, William Bernhardt explains that the most obvious way to encourage a reader to empathise with a character is to give them a trait or two which the reader is likely to admire.

This is the first step of turning a platoon leader from a list of variables into an empathetic character. We can then use those traits as a reference point. We can build a character’s backstory by asking how he gained those traits, his likes and dislikes based on how they relate to his virtues, and then use all of those things to create a coherent way in which that character speaks, acts, and sees the world.

To make sure those personalities build the connections they are supposed to, our current writing process is heavily geared towards ensuring our characters hit the right notes. On the advice of Chris Avellone, one of our senior advisors, we’ve been asking our playtesters to record their emotional responses to major characters, and tweaking how they are written accordingly.

These personalities and virtues are reflected through their mindsets. For example, Lieutenant Thompson is defined by his idealism, This is borne out by his unwavering patriotism, his sense of duty, and his strong moral compass. Other leaders are represented in a similar way. Since mindsets (there are eight) also determine special leader abilities in tactical combat, their personalities also correlate directly to how they perform on the battlefield; yet another reason to get to know your men.

However, this isn’t the only empathy-building tool at our disposal. Good characters change and adapt (or fail to adapt) through the changing circumstances of the story. In books and films, this arc is immutable, but in Burden of Command the player takes the role of the Company Commander. Through this avatar, they interact with their platoon leaders in ways which can end up determining how they all develop as characters.

It will therefore be the player’s job to offer guidance to their subordinates. They are responsible for their subordinates’ physical well-being on the battlefield and their emotional well-being off of it. Choosing brutal but efficient solutions carries as great a cost as doing the ‘right’ thing and then having to pay for it.Through specific interactions, the player can guide their platoon leaders in a way which allows them to pick up aspects of other mindsets in addition to the one they started with. The resultant changes to the officer’s personalities and command abilities become a partial reflection of the player’s decisions in response to the stress of the war.

Emphasising the humanity of the men under the player’s command has one other, important aspect. Although the company the player controls is fictional, the battles and campaigns it goes through were very real. The flesh-and-blood men of the 3rd Battalion of the 7th Infantry Regiment suffered and bled and died in the places which Burden of Command seeks to recreate. They were not tokens on a map to their families, their friends, and those who served with them, and it would be a disservice to pretend otherwise.

In our next devblog, we’ll be discussing how we mean to convey the story of those flesh-and-blood Cottonbalers in the most respectful and historically authentic way possible.

 

[Taka-Haradin puolipeikko]

 

[Jarpie]

There is one game they should look inspiration for

I remember reading comments in some video of Lost Patrol, one of the devs commented on it that they got fucked by the publisher (Ocean) and didn't get royalties etc. Unfortunately the dev has apparently deleted the comments as they're not in the video anymore. Ocean was known for their scummy practices, so that's not a big shock.

 

[Taka-Haradin puolipeikko]

http://burdenofcommand.com/our-respect-for-you-is-a-problem-in-an-historical-rpg

For me, history is personal

My father served in WWII. My mother as well.

My father was also an eminent historian, the founder of a historical field and a Pulitzer Prize Finalist.

For me history has never been an abstraction but the personal experience of my parents, just as it’s the personal experience of many of your parents and grandparents. Sometimes, lying in bed at night, as I thought of turning those experiences and often deaths into a game, I also wondered whether my late parents, my personal heroes, would be ashamed. It was under that early sense of burden that I came up with a simple design principle: Respect.



Respect: the easy part

When I brought Allen and Paul on as writers, and Mariusz Kozik on as portrait artist, I emphasized that our core tone must be one of respect, respect for the lives and experiences of those involved, for the dark side of their experiences, but also the light side of their sacrifices and commitment. Concretely, we adopted both HBO’s TV series Band of Brothers as a guide to that tone…

…as well as Vietnam Vet Karl Marlantes spiritually minded book:

Further, in the spirit of that respect, we determined that we would follow a real unit, the fabled Cottonbalers, using as our guide eminent military historian John McManus’ wonderfully detailed book:

To our great delight, John agreed to advise us. We went so far as to hire an archivist to pull out first person reports of junior officers from the US National Archives:

Unfortunately, this pleasant, seemingly simple, decision to be respectful and therefore to follow a real unit, were where the problems began.



Our Respect for You…is a Problem!

Our first thought was to also follow specific real individuals, in the vein of Band of Brothers. However, by 2017 most of the actual participants were deceased or incapacitated. Second, we knew we wanted to do an interactive game where your decisions mattered. This meant that you could make your own choices and follow your own leadership journey. Yet, we wanted those decisions to be based on actual historic decisions. We abruptly realized we couldn’t do both: if we gave the player the ability to make decisions that diverged from history, we could hardly present an exact retelling of what actually happened. Burden of Command was not a movie.



Nickel Company

Our solution was to create a fictional company: Nickel Company. Your player character and the NPCs would be fictional, but would exist within the very real 3rd Battalion of the 7th Infantry Regiment. This allowed the interactive fiction writers and scenario designers the freedom to craft a compelling interactive narrative and allow the player the freedom to chart their own path while still embedding the player in the experiences of a historical unit and its real leaders.

(and, FYI, here’s what the real leader decided to do):

The end result would be a historically immersive but personal leadership journey. See this dev blog for more on your RPG crafted journey:





The decision to use a fictional company not only gives us to cherry pick the most interesting events and decisions across three years of war but also the most engaging battles. In this sense, Nickel Company’s war is a lot like a ‘highlight reel’ of the Cottonbalers’ involvement in WW2.



Bend, but do not Break

Of course, giving ourselves the liberty to explore different decisions both narratively and tactically shouldn’t let us take too much license. To maintain our respect for what really happened, we developed a design principle: “bend, but do not break, history.” For example, we would not allow you to pull in “cool” units or leaders as reinforcements if they were not in range of the actual battle (Allen couldn’t use the Rangers early on in Sicily) but we would allow support that was close enough to plausibly intervene. Similarly, we would allow historic individuals to appear (typically superior officers) but in respect for their own journeys they would not change their own decisions or actions. While many RPG and historical games let you “save the world” or deeply change history (kill the ultimate baddie, reverse the outcome of a famous battle, etc.), we believe that the real experience of being normal civilians drawn into events much larger than themselves would be far more compelling. Here the success of Band of Brothers (a story of brave and admirable men, but one told on a very small scale) reassured us.



Process: The Wisdom of Crowds

Principles are nice but I have always felt empirical feedback is even better. That is why we involve a remarkable set of advisors on both the narrative and game design side as part of our respect for your game experience. This illustrious crew includes Chris Avellone, Alexis Kennedy, Ian Thomas, William Bernhardt as well as many historical and military experts, including John McManus and a variety of military veterans (see Our Team). This is part of our respect for the historical individuals and their experiences. In addition, we’ve had the privilege of inviting gamers of very different stripes to give their own vital feedback. Lastly we established an ongoing process of surveys for each and every scene to give both qualitative and quantitative feedback. (This was incredibly useful- note by Allen)

This process has allowed us to assess how engaging the gameplay is while ensuring respect for history and the experience of military leadership.



Problem: the Bloody Decisions of Real Leaders

Our problems weren’t done. One of our early internal team arguments was what to do with historic decisions that in hindsight seemed to have cost unnecessary lives. On the one hand a respect for the truth of history suggested that, like a real historian, we show questionable decisions in an unvarnished way. On the other hand, a core respect for those who put their lives on the line made us hesitate to second guess the men who ordered and the men who died. We are not acting as historians, but as storytellers. Was it fair to call out in isolation the one bloody decision of an individual? Would that narrative tightness exclude other good decisions? Did we really know the full context of why they gave those orders that day? In brief, who were we to pass judgement? Our solution was to respect the individual in this case, and show humility as game designers. We would not directly call out bad decision of these actual individuals who put their lives on their line. Instead of rendering judgement, we would instead create fictionalized analogs of their decisions and put the player in those same boots. The hope is to teach us all a little humility for their historic burden of command. Below a quote from the fine commander of the Cottonbalers’s 3rd Division:

Problem: The Burden of Command

It is sometimes said that warfare is “months of boredom punctuated by moments of extreme terror.” A respectful pacing of the “boots of command” would have subjected you to a hundred administrative or logistical decisions for every taste of combat! On the other hand, dropping them would convey a false “hollywood movie” sense of leadership. Our solution was to actually give you an actual paperwork scene and make it interesting. After all if Papers Please could, why not us? As it turns out, this included several logistical dilemmas. Moreover, we had to make these moments into interesting choices as well. The good news is that I can tell you personally that one of the more stressful decisions in the game for me (darn you Paul) revolved around obtaining cans of scarce gasoline. And furthermore, that after sometime in the boots of an infantry Captain I actually found myself quite interested in where our supplies were coming from. Indeed, I felt a disturbing level of interest in seeing in the interactive fiction imagery of the historical reports that real officers worried over:

The Spiritual Reward of Success

Speaking personally again, and thinking of my departed parents as well the historical Cottonbalers, I can tell you now that when I stare at historical pictures of their experience I feel a deep connect across the decades. I believe this is because of the respect the team has striven so hard to distill into an emotionally authentic game experience. There is respect for those who served so that we may walk, at least a little, in their boots.

That feeling of connection across time, is powerful, moving, and a solace when I think of my parents.

Before plunging in, Erik wants to be clear that his comments do not represent HBO, production, Hanks/Spielberg etc in any capacity. Nor is this an endorsement from Band of Brothers. It’s just one person who worked on it recalling some thoughts on the experience.



1. Did you feel a tension between being true to the historical record in Band of Brothers versus telling a good story? Any examples our readers could relate to from the show?

Yes, I think this happens with any true story adaptation. One of the challenges with BOB is that the book was filled with anecdotes about events that happened to a very wide variety of individual characters, far too many for an audience to keep straight in the miniseries. We had to pick and choose who to focus on, in some cases giving smaller historical anecdotes to different characters or groups of characters, and omitting others (and omitting some characters). Some feel there are still “too many characters to keep straight and be invested in” in the miniseries, even after that, and I can’t say I totally disagree. It was something we struggled with.

Beyond that one example, there are many other things that we as writers/producers/directors chose to focus on, streamline, consolidate, adjust and fictionalize so that it would hopefully be coherent and compelling to an audience throughout. Real life just doesn’t give us what we expect from stories. There’s a lot of editing and re-imagining that tends to need to happen. But at the same time you want to stay true to the spirit of what really happened, and not change anything really important.



2. Did you have any debates around that with the real soldiers? That is they wanted a more literal telling while you wanted a more “emotionally true to the narrative” one?

I think there were times when they read or saw things and said they remembered them differently and we would sometimes adjust accordingly. Sometimes their memories disagreed with each other, since it had all happened 50 years prior. For the most part, though, they didn’t get too involved in overseeing what we were doing or giving feedback after the fact — though they gave us a lot of information (directly and through the original book) prior to and during the writing.



3. Did you have any narrative design principles that guided you in coping with any such tensions? For example, we adopted the design principle “bend but do not break history.” That is bend for a good game, but don’t violate the spirit of what really happened (or could have happened).

Similar to yours: be true in spirit and in as much detail as possible. Make changes only when absolutely necessary to make the story work better for an audience, and only in such a way that it won’t distort or fundamentally change what really happened.



4. Any hesitation in relating “bad decisions” made by real leaders in the war?

I don’t think we really had any of those other than the ones you see on screen, which seemed important for story purposes, and so no, no hesitation on those, as long as we knew from multiple sources that they really did happen that way.



5. Sometimes we have found that history is stranger than fiction. That history almost seemed too “Hollywood!” in fact we had to put in little history notes like “no this really happened in 1943 at….” Did you have a similar feeling? Examples?

I have definitely seen that happen. I can’t think of specific examples in BOB but if you asked me about something that seemed too “Hollywood” to a viewer, I might remember…



6. Did you feel an emotional connect across the years from telling such a real story or talking to the real men about their lives? (we are envious of that)?

Absolutely, that becomes a part of working on something so important/meaningful so deeply and for so long, including meeting the actual veterans and wanting to do right by them. Not only the writers and producers felt this, but also many of the actors who got to know the men they were playing.

 

[Taka-Haradin puolipeikko]

 

[Taka-Haradin puolipeikko]

edit.
http://archive.is/Ir1qk
http://archive.is/Lhhn3

 

[ushas]

 

[Taka-Haradin puolipeikko]

All 3 should be in, depending on terrain and entrenchment of defending unit.
1st for cases where squads bump into each other on relatively open ground.
2nd when fighting on terrain with plenty of cover. (woods, buildings)
3rd could be there to discourage frontal assaults on prepared positions. (Troops are dug in, have razor wire covering approach to their position)

edit.

 

[ushas]

Makes sense. Though I thought it's about when there is a cover from terrain to be taken into account. Your 3rd case scenario can be some further factor.

edit.

I suppose then they might be factoring all sort of things in difficulties of those rolls, including terrain and state of defenders. I wonder what happens when Attackers fail the check, they just "Nope" won't attack?

Btw. thanks for linking the stuff here, for some reason having fingers crossed for this. At least their heart is at the right place.

 

[Taka-Haradin puolipeikko]

edit.
http://archive.is/T3MlA

 

[Taka-Haradin puolipeikko]

 

[Abu Antar]

 

[Taka-Haradin puolipeikko]

 

[Taka-Haradin puolipeikko]

 

[Taka-Haradin puolipeikko]

http://burdenofcommand.com/mindsets-and-crucibles

Take the following example:

What would you choose?


This example is based on an actual event involving Lieutenant Ronald Speirs, of Band of Brothers fame. According to witnesses, Speirs shot his Sergeant in self-defense. Afterward, Speirs reported the incident to his commander, Captain Gross, who ruled the shooting justified after a short investigation (details here).

Like Speirs, combat will confront your officers with hard choices in Burden of Command. Some of these points will be scripted, while others will occur randomly or as a result of the player’s choices on the tactical map. We call these choices Crucibles, because they add or reinforce the Mindsets of the officer who goes through them, based on the choices you guide them into making. Over the course of multiple Crucibles, each officer will acquire a unique collection of Mindsets. These will shape both their leadership abilities in tactical battles, and their personal Journey as a character. In other words, your narrative decisions will explicitly craft your “character arc.”

It's been bugging me that this example doesn't offer choice to trust your sergeants judgement (and have quiet word afterward even if his was the right call).
Choices presented have all the same goal; "stop your unit advancing", only difference being in stat gain and risk calculation.

I really hope that game doesn't railroad you too much.

 

[Taka-Haradin puolipeikko]

edit.
http://archive.is/xfHTX

 

[Abu Antar]

 

[Infinitron]

RPG, you say?

 

[Beowulf]

So it's a RPG now?
Because of the floating damage numbers, indicating deep rpg systems?
Infinitron

 

[Roqua]

So, the genre that evolved from controlling military units in a war setting, called Wargames, into rpgs explicitly about small groups of people creating a story, has evolved back into controlling military units in a war setting. I'm very glad taxonomy was invented when people were sane.

 

[Taka-Haradin puolipeikko]

So it's a RPG now?
Because of the floating damage numbers, indicating deep rpg systems?
Infinitron

There's also portraits.
One must never forget the portraits.

 

[Beowulf]

Portraits are actually pretty good, if we judge the aesthetics.
But I think they tried too hard to get that TV series look ("Band of Brothers" and "Pacific"), so it looks less like they drew inspiration from them, and more, like they wanted to just blatantly capitalize on their appeal and popularity.