Each Monday, I share a list of the past week’s played titles on social media, along with a few short details and a picture of each. When it came to sharing a snapshot of Wes Erni and Ben Madison’s solo wargame Nubia: Egypt’s Black Heirs, I suffered from a rare moment of hesitation. Like the last of Madison’s games I covered here, The White Tribe: Rhodesia’s War 1966-1980, Nubia is frank about the racial dynamics of its topic. Unlike The White Tribe, Nubia might not be sturdy enough to shoulder that weight, at least not quite as levelly. To examine why, we need to talk about slaves — both the broad history and the in-game tile.
The word “wargame,” like most board game genre definitions, is a nebulous thing. Do political sims count? What about games about the weeks and months leading up to war? What about wars by other means? It’s this conundrum that makes me propose an alternative: a wargame is that which contains a rulebook that’s alternately impenetrable, opinionated, and insightful.
Ben Madison’s solo wargame The White Tribe fits at least the last two descriptors. In one sense, it operates in the same headspace as Tom Russell’s This Guilty Land — politically charged, critical of racism and the systems that support it, and deeply conscious of how legislation is passed, employed, and sometimes abused. But if it’s a mirror, it’s an inverted one. Where Russell’s approach was pessimistic, casting the U.S. Civil War as inevitable and compromise as poisonous — a view Russell supports quite well, as I wrote last year — Madison charts a careful course between terrible extremes and concludes that, sometimes, collaboration is the only way to keep from plummeting into the abyss.