Table for One: Operación Backbone (Ludopress/Alea) Review

To some degree, all wargames are hypothetical. Even the most detailed simulation of an actual, historic conflict, with lavishly researched orders of battle and start lines, festooned with elaborate rules governing supply, morale, command and control, and a hundred other factors, deviates from history—becomes hypothetical—the moment a player moves a unit or rolls a die. History has changed, and everything from that point becomes conjectural. And yet what is typically understood as a hypothetical wargame, simulating a conflict that did not actually happen, tends to be devalued in the hobby despite potentially providing the same types of lessons and insights that other, historically-grounded wargames can, at their best, deliver. Though many wargamers carve out an exception to this rule for games on a (thankfully) potential Third World War and its ancillary engagements, titles depicting imaginary conflicts don’t tend to land well with the buying public.

Cover close-up of Alea 37 (Ludopress) with artwork by Iván Cáceres

It’s little surprise, then, that many hypothetical wargames come to market not as boxed games but as magazine games, given the lower price point and, one must confess, lower expectations that come with the format. Yet for that very reason, magazine games offer a fertile canvas for experimentation with approaches as well as topics. Thus we have Operación Backbone: La Invasión Aliada del Protectorado, 1942-43, from Spanish publishers Ludopress via their wargaming magazine Alea. The Allies drafted Operation Backbone, an invasion of Spanish Morocco in December 1942, in order to retain British control of Gibraltar and secure access to the Mediterranean should Spain have allied with, or been invaded by, Germany. In the event, such fears came to naught, and Operation Torch, with its invasion of Vichy French holdings in North Africa, takes place in the same time frame without spreading to the Spanish Protectorate. Operación Backbone is, it perhaps goes without saying, the only game to focus exclusively on this topic—the Europa module Spain and Portugal allows gamers to engage Spanish forces in Morocco, albeit with a much broader brush as a smaller part of an Allied invasion of the Iberian Peninsula—but does such uniqueness provide enough justification, enough insight into what would have been a significant alteration in the course of the Second World War in the European theater, to merit a spot on the table?

Overview

Operación Backbone: La Invasión Aliada del Protectorado, 1942-43
Ludopress, 2021
Alea 37
Designed by Antonio Rodríguez

Operación Backbone appears as the issue game in Alea 37 (September 2021) accompanied by a sheet of 144 die-cut half-inch counters, sixteen of which are variant counters for fellow Spanish publisher SNAFU Design’s Ambon and Batalla a les Illes Formiguesa, along with a semi-matte paper map measuring a bespoke 16″ x 23″, close to but not quite A2 sized. The game covers the hypothetical efforts of several US and UK divisions to invade the Spanish Protectorate of Morocco as a response to Spain allying with Germany and thus threatening Gibraltar and Allied access to the Mediterranean Sea. Operation Torch has already been carried out in this alternate timeline, as American forces begin the game in the base scenario well-established across French Morocco from Port Lyautey (Kenitra) to Taourirt. Operations in Gibraltar or mainland Spain fall outside the game’s scope.

Contents overview of Alea 37 (Ludopress) and the included game, Operación Backbone

Units are mostly regiments for the American, Spanish, and German forces, and brigades for the British, with a few company sized units in play as well, using standard NATO symbols color-coded to denote higher formation affiliations. A small flag flash adorns the bottom right corner of each unit counter to denote nationality, which is also designated by counter color; the corner ornamentation adds a bit of unwelcome busyness to the counter for my taste, which hews to the utilitarian in such matters, but judged by the standards of contemporary counters from some publishers, with their ornate watermarks and garish color schemes, it’s a minor quibble. Air and naval power is abstracted into points that are simply applied to combats as modifiers.

Counter overview from Operación Backbone, Alea 37 (Ludopress)

All ground units bear historical designations. In his design notes, Antonio Rodríguez indicates that he used the forces allocated for Torch as the basis for the Allied order of battle, which seems quite reasonable given the similarity in mission taskings, training, and theater presences. Likewise, the Spanish forces come from those actually in the Spanish Protectorate at the time, forming a well-grounded set of assumptions for this hypothetical conflict.

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East Front Rain: ASL Journal #17 Released

Advanced Squad Leader‘s long-time custodians, Multi-Man Publishing, have in recent years come very close to releasing their flagship product’s support magazine, the ASL Journal, on a near-annual basis, something that was seldom accomplished when it was titled the ASL Annual. (Though in fairness, Avalon Hill, the original publishers of ASL, started that title and themselves never quite lived up to the promised schedule either.) The most recent issue, ASL Journal #17, came out in late July of this year in conjunction with the grandiosely titled World Boardgaming Championships in Seven Springs, Pennsylvania, only nine months after they unveiled Journal #16.

Cover detail from ASL Journal #17 by Multi-Man Publishing, with artwork by Steve Noon

A hallmark of recent issues of the Journal has been an excruciatingly glossy cover, and this most recent offering, featuring artwork by Steve Noon showing American GIs advancing down a ruined street behind a Sherman, ramps the gloss up even higher. You will smudge the cover and festoon it with fingerprints, should you decide to give the articles within more than a cursory glance. I hope a reconsideration of the cover stock is in the offing.

Contents overview of ASL Journal #17 by Multi-Man Publishing

At forty-two pages, Journal #17 comes in slightly longer than prior issues, and pleasingly most of the articles are, continuing the recent pattern, focused on gameplay, including an examination of dashing and street fighting rules by Sean Deller and a deep dive into roadblocks by Carl Nogueira. John Slotwinski, a long-time gaming buddy of mine, contributes an article on one of several monster scenarios in this issue, accompanying a handful of “Pre-Combat Check” articles by Deller that seem to have become a fixture, providing a “things to remember” checklist for various scenarios. A potted history article, of the type I’m long on record as believing has no place in gameplay-focused magazines such as this, also takes up some space.

Article detail from ASL Journal #17 by Multi-Man Publishing

ASL Journals tend to come with an assortment of maps, and Journal #17 obliges, but in a rather different manner. Instead of one or more cardstock maps, a paper map for a single scenario, J282 Paths of Vengeance, accompanies this issue. At almost 20″ by 28″, it’s a substantial bit of cartography, nearly the size of a standard wargaming map, with oversized hexes and a nice, restrained satin matte finish. Featuring built-up city terrain (the scenario is set in Berlin), with stone buildings interlaced by streets and railroad tracks, the map by itself makes a compelling case for the playing the linked scenario.

Map detail from ASL Journal #17 by Multi-Man Publishing

And what a scenario it is: J282 Paths of Vengeance, by Bill Cirillo, Sean Deller, and Steven Pleva, is a three-player scenario whose details span four separate cards. The scenario leverages the three-faction conceit introduced in Twilight of the Reich, with two Soviet forces fighting each other (for the glory of taking Berlin) and the Germans simultaneously. Each side receives points to spend as they please for weapons and fortifications as in ToTR, a conceit repeated through many of the Journal’s fourteen new scenarios (J270-J283), spread over eleven double-sided cardstock cards.

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Sweet Sixteen: ASL Journal #16 (MMP) Released

After sixteen installments, it might not be breaking news that a fresh issue of the ASL Journal, that irregularly published compendium of articles, news, and scenarios and maps for everyone’s favorite World War II tactical combat system, Advanced Squad Leader, has arrived—which is perhaps my feeble excuse for not taking a look at ASL Journal #16, released by Multi-Man Publishing in October, 2025 alongside ASL Action Packs #21 and #22 at ASLOK, until some ten months later.

Cover close-up of ASL Journal #16 by Multi-Man Publishing, with artwork by James Dietz

Wearing an extremely glossy cover with artwork of American paratroopers digging in by James Dietz, ASL Journal #16 clocks in at a relatively slim 38 pages. Several articles recap the “first ever ASL World Championship” held at WBC in 2025, the bespoke scenarios for which are included in this issue. Additional articles by Jim Bishop and Sean Deller focus on rules issues and applications, accompanied by design notes for the forthcoming Kharkov in Flames historical module and the included Carpiquet Airfield scenarios.

Most significant, however, are the proposed rules changes by veteran players Steven Pleva and Mike McGrath, along with new errata to address some of the issues they highlight. (Full disclosure: I played Mike McGrath at Winter Offensive many moons ago; he was unfailingly pleasant as he disarmed my hapless attack with an insouciant ease.)

Article detail from ASL Journal #16 by Multi-Man Publishing

It’s unquestionably the most consequential set of adjustments to the rules since the Second Edition came out back in 2001. MMP has included the changes in the most recent official errata file, so no need to purchase the issue to find out just how wrong you’ve been playing all these years, but finding out why the changes have been made just might be worth the price of admission, especially since several of the unimplemented proposals in the article could yet make it into official status…

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Doctor Who Project: The TV Movie

It’s alive. It’s alive. It’s alive!

How do you re-introduce a legend? Doctor Who‘s cancellation in 1989 represents the end of twenty-six years of (mostly) continuous presence in the cultural landscape—in the United Kingdom, at least, though pockets of fandom certainly exist throughout Europe and the English-speaking world. Never ones to let a potentially valuable intellectual property sit fallow, Hollywood starts sniffing about even before Doctor Who‘s ultimate demise, and after a few false starts, a backdoor pilot episode for a potential revamped series finally comes to fruition. Matthew Jacobs’ pithily titled “TV Movie” hits the air in May of 1996 in the United States, Canada, and the UK, a joint production of Fox, Universal, and the BBC.

Next stop, Gallifrey!

Though a fair percentage of the audience has doubtless been waiting seven years for this moment, explaining just what—or perhaps, more properly, who—Doctor Who is becomes paramount to retaining new viewers tuning in to a much-ballyhooed television event. A pre-title voiceover attempts to set the stage, explaining that the Master, a “rival Time Lord” to the Doctor, has been put on trial on Skaro (of all places) and, having run out of regenerations, becomes nothing more than an urn of ashes for the Doctor to return to Gallifrey, helpfully noted as their home planet. More shocking to long-time viewers than the Daleks suddenly having a functional judicial system (or even that Skaro still exists), however, is the delightful presence of Sylvester McCoy, reprising the Seventh Doctor not just for a regeneration sequence but a twenty-odd minute introduction to the character.

Sylvester McCoy as the Seventh Doctor, reclining in an easy chair in a quite spacious TARDIS control room

Significantly, McCoy’s presence indicates that the “TV Movie” stands in the established continuity rather than throwing the baby out with the blue box, a potential harbinger of respect for the source material that is certainly not guaranteed, particularly once American television executives get involved. The Master somehow becomes an amorphous slug and escapes his urn, diverting the TARDIS (noted, for the uninitiated, as a time machine by the Doctor reading H.G. Wells’ novel of the same name) to Earth, where the Seventh Doctor interrupts a gang fight in 1999 San Francisco, leaving him riddled with bullets for his troubles.

Sylvester McCoy as the Seventh Doctor, gunned down outside the TARDIS

Despite the director, Geoffrey Sax, being a product of the British television scene, he films the ensuing hospital sequence, and indeed the entire film, in the frenetic, mid-90s mode favored by American television, with fish-eye scenes of ambulances screeching; fast push-in shots framed with the camera jauntily tilted; and gurney-level perspectives of the Doctor being put under anesthesia, all the while insisting that he’s not human. The attending cardiologist, Grace (Daphne Ashbrook), ignores him (and the x-rays showing he has two hearts); she finishes the job the bullets started, killing him on the operating table, an ignominious end for the Seventh Doctor.

Daphne Ashbrook as Grace, the cardiologist who accidentally, um, kills the Seventh Doctor

Though Doctor Who could never be accused of avoiding self-consciousness or on-the-nose allusions, parallelling the Doctor’s regeneration shot-for-shot with the famous scene from the Boris Karloff Frankenstein featuring the titular doctor’s monster coming to life feels just a bit too cavalier, more film school final project than serious cinematography. The actual regeneration of Sylvester McCoy’s Seventh Doctor into Paul McGann’s Eighth Doctor leans far more heavily into body horror than any transformation before (or in the 2005 BBC series since, to be sure); the disturbing scene, with lots of lightning and much gurning and facial warping (a tribute both to the effects team and McCoy’s pliable features!), owes a greater debt to An American Werewolf in London or The Fly than to the rather staid fade-out/fade-in that serves to denote the change in Doctor Who previously.

Sylvester McCoy gives his facial muscles a workout as the Seventh Doctor begins to regenerate into the Eighth Doctor

The Doctor’s ensuing disorientation, again rather pointedly signposted by broken mirrors reflecting his unfamiliar visage (in a part of the rich, well-funded hospital that is, apparently, abandoned and ruined, flung open to the elements), culminates in his dropping to his knees and screaming, “Who? Am? I?”, just in case audiences didn’t connect the title of the show with the character (who, to be clear, is not named Doctor Who). And then, at the critical juncture of his self-encounter, that most American of moments occurs: a commercial break…

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In Scale: 1/48 Arma Hobby Sea Hurricane Mk IIc (No. 835 Squadron, HMS Nairana, 1944)

After a brief—ok, fine, two year—hiatus, the In Scale series of scale model builds returns with a 1/48 scale Arma Hobby Hawker Sea Hurricane Mk. IIc, wearing the overall-white livery of NF672/7K, the famous “Nicki” flown by Sub Lt. A.R. Burgham with Fleet Air Arm 835 Squadron off HMS Nairana. Sub Lt. Burgham’s mount is depicted circa mid-June, 1944, shortly before a non-fatal crash into the barriers on its home carrier by a different pilot.

1/48 Arma Hobby Hawker Sea Hurricane Mk. IIc

Build Overview

Arma Hobby first released their well-regarded 1/48 Hurricane Mk. IIc in 2023 with an eye towards a future Sea Hurricane boxing thanks to the bottom fuselage behind the wing being a single, swappable piece. Their Sea Hurricane Mk. IIc boxing, released in 2024, provides a 3d-printed replacement for that part with the proper recess for an arrestor hook, also 3d-printed. The kit is notable for extensive riveting, both raised and sunken, on the wings, adding much detail and surface interest.

1/48 Arma Hobby Hawker Sea Hurricane Mk. IIc

It’s here I must confess that I am somewhat “mark-agnostic” when it comes to aircraft variants. I respect the economics of the hobby and the fact that manufacturers cannot always create bespoke parts, like the rear fuselage drop-in, to represent the different versions of aircraft using the same basic molds, instead asking modelers to perform modifications of greater or lesser difficulty to more accurately mirror the vehicle type being built. When it’s a simple scribe or fill or deletion, I’ll happily scratch or putty or sand away, but when more extensive surgery is required, I often default to discretion over valor. Such is the case here. I refrained from removing the raised vents on either side of the fuselage below the cockpit, which a real Sea Hurricane Mk. IIc lacks, and left the landing gear bay doors intact, crews having removed a chunk of the lower spat to alleviate the doors catching the arrestor cable before the hook, which was likely a bad thing. Especially since I’d been away from the bench for a bit, I knew my attempts at the fixes would be more distressing than just leaving them be, so to the mark-purists out there, my apologies. We appreciate your knowledge, particularly when we ask desperate forum questions trying to get it right! So I know, strictly, this doesn’t represent an archetypal Mk. IIc Sea Hurricane. If it were an airframe I know well, it might bother me, but to my untrained eye, it looks close enough.

1/48 Arma Hobby Hawker Sea Hurricane Mk. IIc

The build was quite straightforward, even with my aforementioned rustiness, as befits Arma Hobby’s growing reputation in the hobby. I found the cockpit to be exceedingly fiddly, with multiple parts coming together in a cage-like structure that then rests on the top of the wing, which, nicely, is composed of two solid spars, preventing any dihedral issues. The cramped pilot’s office on a Hurricane allows very little internal visibility once the fuselage is buttoned up, and assembling the cockpit felt like painting the back of a dresser—you know it’s there, but ain’t nobody ever going to see it.

1/48 Arma Hobby Hawker Sea Hurricane Mk. IIc Cockpit Build Detail

I had a bit of fuss with the wing assembly, broadly because of my lack of practice at sprue gate removal and proper technique, but nothing that applications of elbow grease and fillers couldn’t rectify (mostly). The fit of the fuselage onto the wing approached a level of wonder, I must say—it’s the most precise alignment I’ve seen to date, with no filler needed at all. Just a beautiful bit of engineering and molding there. The bottom fuselage drop-in required cyanoacrylate to install, not being styrene, but the fit was push-tight, which allowed just a tiny bit of glue (and a bit of filler) to get the job done.

1/48 Arma Hobby Hawker Sea Hurricane Mk. IIc

Beyond that, the build itself was a breeze. I was able to seal the fuselage seam flush with just a bit of judicious sanding and cyanoacrylate work, and the parts layout let me leave the vertical tail stabilizer (with its easily breakable antenna mast) off until the end. Fair warning—the raised rivets will catch and unravel cotton buds, particularly the cheap dollar-store type that adorn many a workbench. Use something else to clean/smooth/blend/whatever or be willing to devote significant time to plucking stray strands for the remainder of your build—and bemoaning them in pictures afterwards…

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Doctor Who Project: Sylvester McCoy Retrospective

Much as William Hartnell bears the mantle, and the burden, of being the First Doctor, Sylvester McCoy wears the title of the Last Doctor. With hindsight, we know that Doctor Who eventually returns, in fits—the one-off “TV Movie” of 1996 featuring Paul McGann’s sole outing as the Eight Doctor—and in starts—the still-ongoing BBC reboot from 2005 onward, with seven (or so) Doctors of its own. But in late 1989, with cancellation confirmed by the time the final episode, “Survival,” airs, McCoy’s Seventh Doctor appears to be the end of our beloved Time Lord’s regeneration.

Sylvester McCoy as the Seventh Doctor

To be absolutely certain, Doctor Who‘s cancellation has nothing to do with Sylvester McCoy’s affable, energetic, and, as his three seasons wore on, steely presentation of the Gallifreyan miscreant. Drama and politicking behind the scenes at BBC Television Centre drive the decision alongside ratings that suffer worse than normal when the venerable Saturday afternoon show moves into direct competition with Coronation Street, the ITV juggernaut soap opera nearing twelve thousand episodes of Mancunian heartbreak to date. For all the claims from BBC Head of Series Peter Cregeen and others that the show just needs time to regenerate, if you will, to recapture the imagination of the audience through absence, they have in McCoy an actor capable of just such renewal, which even the most die-hard fan would have to admit the series requires by 1989.

The Seventh Doctor (Sylvester McCoy), too cool to look back at an explosion

One could make the case that Doctor Who has been undergoing “renovations” since John Nathan-Turner takes over as producer in 1980 to start Tom Baker’s Season Eighteen. Ever after, change becomes the watchword for the series, with Nathan-Turner having Peter Davison’s Fifth Doctor oversee a herd of youthful companions as opposed to the more restrained counts for the Third and Fourth Doctors, while Colin Baker’s Sixth Doctor throws the proverbial toys out of the pram and challenges the audience to accept him (they don’t). In comparison, McCoy seems a return to form, to normalcy, with but one companion at a time and a Seventh Doctor who is eager to please. But all the rejiggering fails to shore up viewing statistics or to convince the suits in charge that the series deserves to continue, and there’s a sense of desperation throughout McCoy’s run, an overarching knowledge that the series hangs on by a thread, having almost been canned prior to Colin Baker’s final season.

Earl Sigma (Richard D. Sharp) and the Seventh Doctor (Sylvester McCoy) discussing the Blues

Based on the overall strength of McCoy’s twelve stories, all overseen by Nathan-Turner and script editor Andrew Cartmel, there’s little evidence that any change would have sufficed to convince the upper floors of Television Centre that Doctor Who still had life, vibrancy, and strong contemporary relevance. Well, fine, discounting the fact that McCoy’s time on the series starts by having Kate O’Mara dress up as Bonnie Langford…

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