Diplomacy and the Way of the Warrior II:

Munenori Yagyu's "Book of Family Traditions on the Art of War"

          This is a companion piece to the first Diplomacy and the Way of the Warrior article, above, in which I discussed the applicability of Miyamoto Shinmen Musashi's writings to the play of Diplomacy. The book I discuss now comes out of that same Japanese martial tradition. Yagyu and Musashi were contemporaries, and the Book of Family Traditions was written approximately eleven years earlier than the Book of Five Rings. I do not believe that either man read the work of the other, especially since Yagyu advises specifically in his book that his teachings should remain "in the family". One exception to this was that in addition to being the head of the Shogun's Secret Police, Yagyu was the martial arts instructor to the Shogun and the Shogun's family, so that while his writings were not widely disseminated in his time, they were certainly very influential.

          I will try to stay away from direct comparison of the two works, though readers are welcome to compare the two, either through reading my other article, or by reading both texts in their entirety (in fact, the two works have been published together in one volume more than once), but I must say Yagyu's writing is just as heavily influenced by Zen philosophy as Musashi's, and just as Musashi did, Yagyu concludes that there is no irreconcilable conflict between Zen Buddhism and the study of the martial arts. For this article, I will mostly de-emphasize the Zen philosophical aspects of the work, and concentrate more on the application of the precepts of the book to the play of Diplomacy. I will also take Yagyu's teachings out of the order in which they are presented, and arrange them so as to increase their relevance to Diplomacy players. The book is divided into three parts: "The Killing Sword", "The Life-Giving Sword", and "No Sword", symbolizing respectively the use of force, the ability to anticipate problems and prevent them, and finally the ability to influence events without the use of force, by employing other resources. In Diplomacy terms, mastering the teachings of the "Three Swords" is equivalent to mastery of tactics, strategy and communication, which are all vital to the play of the game at the highest levels.

          One thing that must always be kept in mind when reading the Book of Family Traditions is that Yagyu consistently equates individual combat with grand strategy, and considers the mental side of the art of war more important than the physical side. "Just as one faces off with two swords, executing most ably the well thought out plan of combat, using one's hands and feet skillfully so as to gain victory, in the same way the martial art of the commander, properly speaking, is to successfully employ all forces and skillfully create strategies so as to win in war." The equivalence works in Diplomacy, as well. The units represent hundreds of thousands of troops each, together with the associated materiel, yet the factor of overriding importance in Diplomacy, just as in combat, is the mind of the opponent.

          Among the mental aspects of the art of war stressed by Yagyu is the necessity of always thinking about the plans of the enemy, not only one's own plans. While combat itself is "a matter of course, one who is a commander pitches two battle formations in his chest, mentally leading a great army into battle".  Knowing the mind of the enemy is vital. "To see with certainty how an adversary's sword is working, how he is handling it, and to discern what is on his mind.  When you know your opponents moves and manners well, you can make your own maneuvers freely." Obviously, in Diplomacy, if you know your opponents, and can use that knowledge to help predict their strategy and tactics, you have a large advantage over another person who lacks such knowledge. So see if they have written anything on the subject (Though it won't do you any good against me!) including any End-of-Game Statements, observe games where they are presently playing, and ask around with regard to their past games. Always attempt to determine the intent of the other players. "Footwork and disposition of the body should be such as not to miss the location of the quiescent sword", with "location of the quiescent sword" meaning the intent of the opponent. The exposition of the vital importance of perception of the abilities and intentions of opponents forms a large part of the Life-Giving Sword book. Just as it is important to use deception and subterfuge, it is equally important to cultivate the ability to see through the deception and subterfuge of opponents. "If you misperceive the abilities and perceptions, even if you use a hundred techniques to the fullest, you will not attain victory." To succeed in Diplomacy, concentrate on being able to see your opponent's situation from their point of view. The more you are able to predict the moves of your opponents with accuracy, the easier it will be to turn in the best possible set of orders.

          Just as you need to determine the intent of your opponent, it will help if you are able to conceal your own intent. In the context of Diplomacy, your arsenal of deceptive tactics may include (but should not be limited to) the spread of disinformation to third parties, seemingly odd or useless orders (i.e., "To do something unexpected as a ploy to startle an opponent is also an appearance concealing an ulterior intention, an art of war."), intentional misorders, multiple feints, sustained and detailed negotiations with players you intend to attack, and to the extent the house rules of the playing forum and/or GM permit, attempted deception as to your identity in both public press and private communication. The emphasis on the dichotomy between thought and action continues throughout the book. Yagyu's next point could be taken directly from a Diplomacy handbook: "Appearance and intention are fundamental to the art of war. Appearance and intention mean the strategic use of ploys, the use of falsehood to gain what is real. Appearance and intention inevitably snare people when artfully used, even if people sense there is an ulterior intention behind the overt appearance. When you set up ploys and opponents fall for them, then you win by letting them act on your ruse. As for those who do not fall for the ploy, when you see they will not fall into one trap, you have another set up." 

         Too much of a good thing, however, in Diplomacy just as in combat, can be bad. Do not become overly fixated on concealing your intentions. To do so may cause you to misjudge the intent of another player, since they will constantly be responding to your feints and ruses. Indeed you may lose a potential ally, if you make them too nervous, or unsure of your true intentions. Obsession about anything, whether it be deception or any other particular tactic, offense, defense, revenge or anything else is a weakness. By freeing the mind from such obsessions, by refraining from becoming fixated, you can act freely, and you will not prevent yourself from finding the best plan of action. Perhaps the most common obsession in Diplomacy concerns the stab. Obsession with the employment of the stab is the greatest failing of many players, with another popular flaw being the obsession of obtaining revenge after a stab. When a player can keep these obsessions from influencing their play, effective play becomes much easier, especially if a player acts in an unexpected manner, given the "natural" response of most players after being attacked. Of course, revenge often coincides with the best course of action, but that is not always the case. The opposite tendency, obsessive maintenance of alliances, is also a hindrance to superior play. To Yagyu, part of the art of war is "knowing when there will be disruption, and preventing disturbance before it happens", which leads to a discussion of group dynamics quite familiar to any Diplomacy player who has witnessed an agreement faithfully continued by one side, and broken by the other: "mindfulness to observe the dynamic of situations in a group is an art of war. If you do not see the dynamic of a situation, you may remain too long in company where you should not be and get into trouble for no reason". You must constantly observe opponents, directly and through information from third parties, and look for signs of change in intention. If your opponent is not fixated on keeping agreements and you are, the results are almost inevitably disastrous for you. If you slavishly adhere to agreements, even if you are lucky enough to have found someone as maniacally faithful as yourself, you will likely pass up opportunities for victory unless you are willing to break agreements at the opportune moment.

          The importance of the concept of not becoming fixated or obsessed, important enough when fighting an opponent or opponents of equal or lesser strength, becomes crucial when facing a more powerful opponent. "The important thing is what happens when you are hard pressed, make sure you do not get caught in a pinch, unprepared. This is the concentrated attention you exert at such times as when you are being attacked with your back to the wall. It should be understood as a most critical and difficult situation." Therefore, the "margin of safety is quite impossible to maintain if you fix your eyes upon one spot, let your mind linger in one place, and fail to keep up sustained watchfulness".

          Much of the discussion in the book concerns a related topic, the subordination of mood to will. By that, Yagyu means that outward expression, whether physical or verbal, should be subordinate to the inner attitude. He writes "It is essential to control your mood by means of your will, calming down so that your will is not drawn by your mood". A fighter should always try to remain calm, not excited, and always try to plan strategies and tactics and observe the enemy with a calm, normal state of mind. Applied to Diplomacy, the superior player playing either face to face, or by written communication, is not ruled by emotion, but by the ultimate objective, to win. Emotion, or at least the appearance of emotion, is merely another tool to influence the adversary. You can have the appearance of being angry, happy, worried, and so forth, but you should not let your emotional state influence your planning. The point is extensively elaborated upon in several sections of the Killing Sword book. It is not a problem to have emotions. Emotions only become problems when they steer a player away from the best plan of action.

          Yagyu is generally in favor of letting an opponent take the initiative, but he does not mean this in the way it is ordinarily understood. The opponent is allowed the initiative only to the extent that they make the first move. After the opponent has made the first move, and therefore committed to a course of action, it is time to counterattack. Once the plans of the other player or players are known, the superior Diplomacy player will then seize the initiative, and successful strategies can more easily be formulated. In Diplomacy, this type of play is most often seen in the opening phase of the game. Some players may make various non aggression pacts and alliances, which require no immediate positive action, spending the early going picking up neutral Supply Centers and setting up flexibly, so that their next course of action is not obvious. If a patient player is not immediately attacked, and the other players commit to particular courses of action, that player can jump in at an advantageous time in one or more conflicts. "A hasty attack is an exceptionally bad thing. The thing is to press aggressively only after having properly prepared yourself mentally, and after having observed the situation thoroughly." Sometimes, of course, opponents may need to be encouraged to commit: "When opponents are secured in a passive or waiting mode implement strategic maneuvers with covert intentions, inducing adversaries to tip their hands, and thus using this to enable you to gain victory".

          Yagyu feels that flexibility, the antithesis of obsession, is a key to success. Once an attack is begun, it is important to remain attentive to the target of the attack, since you will become the focus of your opponent's attention, and may encounter massive, even irrational opposition. You must be prepared either to press home the attack while the opening can still be exploited, to shift the attack to another area, or to abandon the attack completely. To know when to change direction, in Diplomacy just as in combat, is "a supremely effective state of mind".

          Just as it is important to be able to refocus in attacks, so as to remain tactically flexible, it is also important to maintain flexibility in overall playing style, so that opponents cannot predict your moves because they may categorize you as a daring or conservative player. In addition, reflexive adherence to the "usual" or "ordinary" is bad. Masters of the martial arts know when to depart from standard thought patterns and practices, so that "People who have attained supreme mastery are beyond them; they act freely and independently". For example, attempting to obtain good position with the Spring move, in order to capture Supply Centers with the Fall move is often a wise guideline to follow, but if an opponent leaves an opening, and you calculate that gains from the attack would be sustainable, a Spring attack on Supply Centers may be the best move. Similarly, a move for position in the Fall can be worthwhile as well, if the positional advantage leads to later material or strategic gains, as is demonstrated by the enduring popularity of the Lepanto and Sealion openings.

          Though there are often numerous tactics that can be employed in a given situation, through study, practice and game experience, finding the best tactic becomes almost automatic. "There may be a hundred stances and sword positions, but you win with just one." This is the essence of the "Great Learning", a guiding principle of Zen Buddhism. When someone has "learned all there is to learn", the optimum strategy and tactics often come without effort, almost instinctively, and it will become difficult for others to guess in advance the strategy and tactics you will employ. Yagyu concludes that this is the ultimate level of mastery in the art of war. In Diplomacy, frequent practice and positional analysis, along with extensive game experience can lead to a similar result. Some experienced players can take a position in at a glance, grasping the tactical possibilities, thinking multiple turns ahead. For example, such a player may move to circumvent a possible stalemate line before others even consider attempting to form one. This can be a vital advantage in face to face Diplomacy, where a superior player would have options worked out quickly, leaving more time for negotiation, while other players need more time at the board to plan their moves, and therefore will have less time available to communicate with and influence others.

          I hope that you will think of the various bits of advice I have related here as an integrated whole, and to apply the advice to all facets of the game. A player who does not perfect their knowledge and use of strategy, tactics or negotiation skills will never be able to play Diplomacy at a consistently high level. If Yagyu were a Diplomacy player, and were asked to give one brief piece of advice, he would probably say: Be sneaky, be observant, be calm, be flexible, and be all of these as often as you can.